Anyone who thinks the mft is not up to standard for cinematic filming is just incompetent. You nailed it again bro. Very thorough and well thought out presentation.
This was my 7th video in a row trying to understand my people prefer shooting open gate with anamorphic lenses. (I just bought an anamorphic adapter to go with my Fuji XH2S). Finally I have the answer! Thank you!
Whoah what seriously; other videos didnt explain?! That’s kinda nuts but I’m so glad you found me! Now, just to throw a wrench in things 😂 watch my video on the S5IIX. In that I shot anamorphic but not in open gate - but there’s a good reason which I explain. Enjoy! (And comment when you do ☺️) th-cam.com/video/RW05iEnqhvo/w-d-xo.html
I just published a video about the anamorphic photos i shot with GH6 in Tokyo than i saw your video pop up on my feed! Really great explanation as usual, and some of those shots using the Nanomorph is killer! 💯
i own the fuji XH2S and the sirui 24mm Anamorph and it shoots 6.2k Opengate had to watch this video to enlighten myself about Open Gate Thanks and great explanation
@PhotoJoseph thanks for thinking outside the box and making this video. Just bought the GH6 and the two widest Sirui MTF anamorphic lenses. Look forward to finding out why you and others were in Japan. Has to be more than just the new 12-35mm zoom
I usually set my S1H to a 3:2 open gate profile and use my Ninja V to record a pillarboxed UHD ProRes file. Having prores and 4:2:2 are preferred to the extra pixels for my workflow since I always deliver HD.
This is a sick concept; I started following you back when I first started filmmaking and now I do it for a living and have this little channel as my fun pass time. I think we’re buying this lens to shoot cinematic shitposts now 😆
Really would love to see samples of the lens rotated + body counter rotated as you suggested. This could be really great for lots of gimbal shooters as most stabilizers have “portrait” modes that rotate the whole camera in the roll axis.
A lot of cool stuff there. But unfortunately you can't "eliminate" rolling shutter as suggested at 8:47 . It's a function of the sensor readout, so always present in CMOS, some sensors are quicker, and others slower, hence more visible. Rotating the camera 90degrees would simply switch the artifacts around: The horizontal axis would now display compression/extension, and the vertical axis the jello effect. Nonetheless it would be a different look.
Photo Joesph, I am a subscriber and love your approach to content. I do have a question. What if we took a speed booster and bought the Full frame for the cinema or anamorphic lens shooting open gate. Do you see any draw backs or positives from this approach. I am debating whether to get the MFT mount or going Full frame that will future proof if I add the Lumix Full frame later. Thanks in advance and keep the great content coming.
Thanks for being a subscriber! So the cool thing about the Nanomorphs is that you can change the mount! MFT to L-Mount is interchangeable. When on a full frame camera, it’s an APS-C crop, so that means the same lens is a little wider on the full frame than the MFT. A speed booster is designed for full coverage lenses, so would likely end up vignetting on MFT with the Nanomorph lens. My advice: order the lens with MFT now, and also order the L-Mount kit so you’re ready when go you full frame!
@@photojoseph That is awesome! Question, What do you think about the Laowa Nanomorph's vs. the Meike Cinema Primes for MFT or Full Frame? Debating which ones to get.
Thank you for yet another good video.. Is there an advantage/improvement in video quality shooting in 5.7K prorez internal and bringing it to 4k? Or just shooting 4k right away is going to give you the same image? Not interested or worried about vertical or other aspect ratios. Just want to take advantage of my gh6 and get the best full 4k video I can get out of it. Now since I have an option for filming in 5.7 and down sample it to 4k does it give 4k any improvement? Thanks
There’s two advantages to 5.7K ProRes - bitrate and resolution. If you scale the full image down to 4K in an NLE that _may_ look different than the scale in camera, but that’s splitting hairs. The real advantage is the ability to punch into the shot without scaling up. Bitrate on ProRes is higher so you may see a quality difference there but likely only if there’s a lot of motion. They are both 422 10-bit. Or you can go external raw for 12-bit.
Thanks, subscribed. Not looking at FX30 anymore. I need two cameras at least. What do you think about two GH5ii for weddings, or it is not a good idea as FX30
I’m not familiar enough with the FX30, but if you’re looking for wedding cameras for video then you probably want to use AF, right? In that case I’d recommend a pair of S5II or even S5IIX (the X is still a few months from shipping). Watch my video on those: pulse.ly/lugzgqhj6q
@@photojoseph Yeah, thanks again )) I think the same, after watching every review possible. Sensor size, af and colors look promising. May I ask another question about lens choice, affordable af lens for s5iix? I think to pair it with laowa nanomorph, but I need some lens to match that with af. Your video rocks
great explanation! Could you tell me how the Blazar Remus lenses act on the micro 4/3 sensor, on the Panasonic Gh7, in relation to edge distortion? A lot of people are talking about the quality of this anamorphic lens, but it seems to me that there is a lot of distortion. In this case, on the micro 4/3 sensor, is there less or more distortion than on a camera with a full frame or super 35 sensor?
I have not used those lenses, however, if a lens is designed for full frame or super 35 and you’re putting it on an MFT camera, then you will likely experience less or no distortion because you will only be using the center part of the lens. Distortion happens around the edges. Of course, this also means that you are not using the entire lens; if a lens is 20mm for full frame, then the MFT equivalent would be 40mm.
Thanks for the answer. In this case, the Blazar Remus lens is PL. I will use a metabones speedboster 0.71x adapter, which will open up the image a little more. Even using the metabones, do you believe that the distortion on the sides will be less than the super-35 sensor?
Thank you for sharing this. Ever since we moved from analog TV or old film cameras to digital we introduce a war of formats and quality. We are causing nightmare for programmers with the too many formats and incompatibilities. Ever since the digital age we are loosing our history. Some formats are not longer playable and will be lost forever. Time to have a "true" standard!
I find this very frustrating! I have been using the GH6 for cinema verité documentaries and, for various reasons I am trying to learn how to work in anamorphic format. I just got a Lawa Nano 27 mm and, in the camera, love it! But getting it into Final Cut Pro X and editing it has been a nightmare. I am shooting open gate, loving the desqueezed images in camera playback, but just can't get them into into FCPX. I've looked at countless videos, have not found documentation by either Panasonic or Laowa that actually shows HOW rather than pitches for the format or product. It's been like asking someone "What time is it?" and then being told how to make a watch. I am not a newbie by any means, but I certainly feel frustrated. Any leads for step by step how-to on how to get open gate anamorphic from the GH6 into FCPX?
I’m no longer an FCP editor, but as I recall there are anamorphic squeeze properties in the inspector. Worst case you manually scale the footage 150% wide. But there’s auto scaling, I’m quite sure.
Both are great but I’d compare to the S5IIX. Better AF in the S, smaller and lighter form factor (lenses make a big difference) in the GH. I’d have to do a full side by side but that could be a good topic!
@mrheng562 so shoot HEVC. Raw is big. And both ProRes raw and blackmagic raw are compressed raw. Try true 444 raw!! You can’t change physics. All you can do is compress it.
Man this is really helpful!!!!!! Thanks 🙏. Nowadays in mid 2023 for about the same price we can get a S5IIx or GH6 or a ZCAM E2 S6 or a BGH1 😅. Could you help us choose !!!!! Just for anamorphic shooting 🎉❤
Not an easy answer. First, separate MFT (GH6, BGH1) from Super35 (E2) from full frame (S5IIx). Different lens requirements at different costs. (I don’t know the E2 specs so won’t talk about that). GH6 and BGH1 support time code input; S5IIx does not. No monitor on the BGH1 so you have to rig it. Too many differences to know without a LOT more info. If you want a personalized recommendation, consider booking a call with me www.photojoseph.com/1to1
@@photojoseph yeah kind of make sens I knew it was a not a one answer questions …. For sure I ll talk to you soon !!! Thanks a lot for your time and all the tips !!!!
Since we see the latest Fuji cameras are capable of shooting internal 12 bit. Im hoping Panasonic adds this to our GH6 bodies soon,. 12 bit raw internal will be a holy grail for most of us. Same guts as one another. This Anamorphic test is absolutely fantastic.
Glad you enjoyed the video, thanks! 12-bit internal on Fuji - are you sure? I just searched for that and only found reference to external 12-bit RAW, same as LUMIX. Also no one can capture internal compressed RAW. It’s a (ludicrous, ridiculous, must-be-ended) patent owned by RED. The only reason blackmagic cameras can record internal blackmagic raw is because it’s not actually raw. It’s partially debayered which skirts the patent. That said I do like bRAW. It’s a nice image and a good compromise. The whole thing is nuts.
@@photojoseph My apologies, I just found the article on the Fuji and the 12 bit Raw. Its output is in two flavours of Raw, Pro Res and Black magic Braw. Your totally right. At least if we could have Braw in these cameras, that would still be better than the prores.
@@photojoseph Thank you - and yes, the GH6 looks great - but I'm currently waiting for a new S series camera to be announced....which reminds me, how was Tokyo? ;)
Very cool man! Im interested in how the lenses will work with fuji xh2s, which can shoot 6,2K opengate internal prores HQ in a 3:2 format. Think open gate shooting with this might be even more versatile than the gh6.. and more lovely bokeh from the larger sensor
the XH2S is APS-C right? That’s perfect for these lenses. Let us know how it turns out! You can also do this on the S1H in APS-C crop but it’s not the full 5.9K resolution.
It's a shame none of Sony FX cameras shoot open gate (3:2). It would be ideal with 1.6x Sirui lenses ... And it's kinda sad that BMPCC has 16:9 sensor :(.
@@photojoseph The only Lumix I would get is S1H which also shoots open gate 3:2 on full frame. Problem there is it's only 24p, which will be a bit problematic here in Europe with indoors shoots, cause all lights will flicker on me if 25p is not used. If Sony adds opengate 3:2 shooting to FX6 I will buy it. Now I'm kinda hesitant.
@@JoATTech frame rate alone doesn’t create the flicker. It’s a combination of shutter speed/angle and frame rate. You can shoot 24p in 50Hz lighting and avoid flicker. Watch this video: th-cam.com/video/0kAuDuV9K9U/w-d-xo.html
I'm a little bit confused though, the UHD shots seem to be wider than the OpenGate shots, so they get more of the scene into the shot. Isn't that the case?
@@flyjfk I see. No; UHD, C4K and 3:4 Open Gate all capture the same full sensor width. If you can time stamp the comparison you’re referring to I’ll see if I can explain what’s up.
@@photojoseph I think I’m confused about the value of the anamorphic lens with Open Gate. If a regular (non-anomorphic lens) can capture the shot as large as possible, what does the anamorphic lens add? In the video, the biggest area is the open gate; so we can just crop it to get an anamorphic feel?
@@flyjfk Stretch to get more pixels, but largely it’s about the look. Anamorphic has a unique look over standard lenses, from the falloff to the bokeh to the lens flares.
Can you confirm that laowa nanomorph is much less sharp than Sirui? From your footage it looks like that. I was thinking about Laowa Nanomorph 20mm T2.2 m43 with Open Gate on GH6 to get wide angle shot using most image details (choir recordings) but the lens is soft, than why bother.
It isn't as sharp, however I'd consider the SIRUI more "clinical". If you want a super clean lens then yes the SIRUI is a better option. If you want a lens with some natural character, then the Nanomorph may be a better option.
@@photojoseph Natural character is nice euphemism. What I need is as sharp as possible, as wide as possibe, as fast as possible 1.33x or 1.5x lens. Sirui 24mm is a bit too narrow with 1.33x for my needs. This laowa would be OK, but is it is as soft as its bigger brothers, than it is no use for me
sorry… I have to say it… "OK, boomer" haha (yeah I'm with you). Fact is, vertical video is here to stay. Like it or not. I realized we were doomed when I watched someone watching a normal horizontal video… but holding their phone vertically. So to answer your question… yes… some people are completely unable to turn their phone sideways! That said, it's an ideal format for short form when. you're already holding the phone vertically, so yeah, it's here to stay.
@@photojoseph Gotcha, although I am far from "boomer" lol. As a filmmaker, vertical video is irrelevant to me, or at least I hope we will never experience movie theaters or TV sets with vertical screens 😂
I wish open gate on 5.8k wasn't limited to only 200 mbit for internal recording, considering 4.4k has an unnecessary big crop. Buying an additional recorder like the atomos ninja V+ just for open gate recording when you can do most other things fine with the GH6 internally doesn't add up to me personally, considering the price of the recorder itself when you don't really use it for professional work to justify the usage of it. 400 mbit or more would already be much better for such a great feature
It comes down to processing power. Nothing is limited unnecessarily. Processing that much data and recording it to high bitrate All-I takes resourses. The camera does not have unlimited power!
Your music sound track is a little over the top when you are not talking, but it's the only thing we have to listen to when you are not talking, so it's manageable. When you are talking however, you need to decide whether you want us to listen to what you have to say, or the incessant and repetitive musical phrase that you seem to think is required to hold our attention. In fact, at least for me, it does just the opposite. Add to that the detailed nature of your content, and you get the perfect bail.
“Add that to the detailed nature of my content and you get the perfect bail”. Sounds to me like details aren’t your thing, Glen. Sorry, but details are what I provide. Music balance is a tough nut to crack and I’ll take it under advisement that it may be too loud, but removing details are not going to happen to appease one viewer.
LUMIX GH6 is $500 off right now!! Great holiday deal on a great camera geni.us/LumixGH6
Bought three when it was 700 dollars off during Black Friday. Was gonna go A7iv but couldnt pass up that deal.
Don't get enough tech talk with anamorphics and how well they work. Thank you!
Thanks 🙏🏻
Super helpful Joseph, I appreciate the attention to detail and all of the charts!
My pleasure!
Anyone who thinks the mft is not up to standard for cinematic filming is just incompetent.
You nailed it again bro. Very thorough and well thought out presentation.
Thank you man. Yeah MFT rocks.
The quality of GH6 is outstanding!
Not too shabby for a little MFT, huh? ☺️
Fantastic! Such a helpful video! Well done. 🔥
Thank you!
Outstanding video, been looking exactly for this for a while. Keep it up!
Thanks, will do!
This was my 7th video in a row trying to understand my people prefer shooting open gate with anamorphic lenses. (I just bought an anamorphic adapter to go with my Fuji XH2S). Finally I have the answer! Thank you!
Whoah what seriously; other videos didnt explain?! That’s kinda nuts but I’m so glad you found me! Now, just to throw a wrench in things 😂 watch my video on the S5IIX. In that I shot anamorphic but not in open gate - but there’s a good reason which I explain. Enjoy! (And comment when you do ☺️) th-cam.com/video/RW05iEnqhvo/w-d-xo.html
@@photojoseph everyone else just says that anamorphic works well with open gate never explaining why
@@BrendanEvan glad I could give more info!
The way you did those graphics was very helpful.
The way you explain it was on point. Very informative 👏🏾 👌🏾 👍🏽
Awesome, thank you!
what a channel. without sales pitch delivering the valuable information and giving an outstanding footage.
Thank you Nikolaz!
Just wanna say thanks for listing your music, that Tropicana track is fire! Good thing I already have an account with that site too
awesome! TBH I don’t always list the specific track but it’s good to hear that that’s helpful. Maybe I should be better about doing that!
Absolute top tier knowledge and presentation. Cheers brother!
Aw, thank you! I really enjoyed making this one.
Thanks brother, your work and insight always helps! I love my GH6 and I"m excited to get my hands on the the S1Hii and the S5iix Cheers from Denver :)
Beautiful footage! This was fascinating. I’ll definitely be bookmarking this video as reference for my next trip out with anamorphic
Sweet, and thank you!
Great vid! These are the things I think about all day every day even when I’m sleeping
Hehe fantastic. Welcome to the club 😁
Very informative video, for guys like me that wants to begin using anamorphic lenses. 👍
Awesome!
I just published a video about the anamorphic photos i shot with GH6 in Tokyo than i saw your video pop up on my feed! Really great explanation as usual, and some of those shots using the Nanomorph is killer! 💯
No kidding! Heading to your channel to watch it now! And thank you 😊
i own the fuji XH2S and the sirui 24mm Anamorph and it shoots 6.2k Opengate
had to watch this video to enlighten myself about Open Gate
Thanks and great explanation
@PhotoJoseph thanks for thinking outside the box and making this video. Just bought the GH6 and the two widest Sirui MTF anamorphic lenses. Look forward to finding out why you and others were in Japan. Has to be more than just the new 12-35mm zoom
Glad you enjoyed the video and enjoy those SIRUI lenses! Anamorphic is so cool.
this video was amazing
Thank you!! I really appreciate that
I usually set my S1H to a 3:2 open gate profile and use my Ninja V to record a pillarboxed UHD ProRes file. Having prores and 4:2:2 are preferred to the extra pixels for my workflow since I always deliver HD.
Fair enough. The S1H can also do RAW, in APS-C in about 3.5K, which is how I shot the talking head scenes.
@@photojoseph I love the style of those shots. Is that the 27mm Nanomorph lens on the talking head parts?
@@ssguy yep, the 27mm about 3ft away
Another great video - I appreciate the visuals and the way you make it a lot easier to understand. Keep the content coming! 👌🏻
Thanks man, that's much appreciated!
This is a sick concept; I started following you back when I first started filmmaking and now I do it for a living and have this little channel as my fun pass time.
I think we’re buying this lens to shoot cinematic shitposts now 😆
Thank you for making me part of your journey! That’s awesome 🤩
Really would love to see samples of the lens rotated + body counter rotated as you suggested. This could be really great for lots of gimbal shooters as most stabilizers have “portrait” modes that rotate the whole camera in the roll axis.
Great info Joseph. What do you use for your ambiance lighting and rim light…. Oh wait a second, I see it IN THE FRAME OF YOUR VIDEO! 😁😛
LOL you can’t see the key but it’s a huge octabox just out of frame
What would be a good starter anamorphic lens for the gh6 shooting in open gate. Which focal length ? Great video 😊
What focal length do you like best now? I’d start there.
A lot of cool stuff there.
But unfortunately you can't "eliminate" rolling shutter as suggested at 8:47 . It's a function of the sensor readout, so always present in CMOS, some sensors are quicker, and others slower, hence more visible.
Rotating the camera 90degrees would simply switch the artifacts around: The horizontal axis would now display compression/extension, and the vertical axis the jello effect.
Nonetheless it would be a different look.
fair enough. And it's definitely a different look!
Photo Joesph, I am a subscriber and love your approach to content. I do have a question. What if we took a speed booster and bought the Full frame for the cinema or anamorphic lens shooting open gate. Do you see any draw backs or positives from this approach. I am debating whether to get the MFT mount or going Full frame that will future proof if I add the Lumix Full frame later. Thanks in advance and keep the great content coming.
Thanks for being a subscriber! So the cool thing about the Nanomorphs is that you can change the mount! MFT to L-Mount is interchangeable. When on a full frame camera, it’s an APS-C crop, so that means the same lens is a little wider on the full frame than the MFT. A speed booster is designed for full coverage lenses, so would likely end up vignetting on MFT with the Nanomorph lens. My advice: order the lens with MFT now, and also order the L-Mount kit so you’re ready when go you full frame!
@@photojoseph That is awesome! Question, What do you think about the Laowa Nanomorph's vs. the Meike Cinema Primes for MFT or Full Frame? Debating which ones to get.
Thank you for yet another good video..
Is there an advantage/improvement in video quality shooting in 5.7K prorez internal and bringing it to 4k?
Or just shooting 4k right away is going to give you the same image?
Not interested or worried about vertical or other aspect ratios. Just want to take advantage of my gh6 and get the best full 4k video I can get out of it. Now since I have an option for filming in 5.7 and down sample it to 4k does it give 4k any improvement? Thanks
There’s two advantages to 5.7K ProRes - bitrate and resolution. If you scale the full image down to 4K in an NLE that _may_ look different than the scale in camera, but that’s splitting hairs. The real advantage is the ability to punch into the shot without scaling up. Bitrate on ProRes is higher so you may see a quality difference there but likely only if there’s a lot of motion. They are both 422 10-bit. Or you can go external raw for 12-bit.
Thanks, subscribed. Not looking at FX30 anymore. I need two cameras at least. What do you think about two GH5ii for weddings, or it is not a good idea as FX30
I’m not familiar enough with the FX30, but if you’re looking for wedding cameras for video then you probably want to use AF, right? In that case I’d recommend a pair of S5II or even S5IIX (the X is still a few months from shipping). Watch my video on those: pulse.ly/lugzgqhj6q
@@photojoseph Yeah, thanks again )) I think the same, after watching every review possible. Sensor size, af and colors look promising. May I ask another question about lens choice, affordable af lens for s5iix? I think to pair it with laowa nanomorph, but I need some lens to match that with af. Your video rocks
@@TVCStudios thanks! Any of the Panasonic native L lenses will be great - just depends on your needs. Tons of fixed and a handful of zoom choices.
@@photojoseph thanks, preordering next week.
Awesome
great explanation! Could you tell me how the Blazar Remus lenses act on the micro 4/3 sensor, on the Panasonic Gh7, in relation to edge distortion? A lot of people are talking about the quality of this anamorphic lens, but it seems to me that there is a lot of distortion. In this case, on the micro 4/3 sensor, is there less or more distortion than on a camera with a full frame or super 35 sensor?
I have not used those lenses, however, if a lens is designed for full frame or super 35 and you’re putting it on an MFT camera, then you will likely experience less or no distortion because you will only be using the center part of the lens. Distortion happens around the edges. Of course, this also means that you are not using the entire lens; if a lens is 20mm for full frame, then the MFT equivalent would be 40mm.
Thanks for the answer. In this case, the Blazar Remus lens is PL. I will use a metabones speedboster 0.71x adapter, which will open up the image a little more. Even using the metabones, do you believe that the distortion on the sides will be less than the super-35 sensor?
that's impossible to speculate. That needs to be tested.
Thank you for sharing this. Ever since we moved from analog TV or old film cameras to digital we introduce a war of formats and quality. We are causing nightmare for programmers with the too many formats and incompatibilities. Ever since the digital age we are loosing our history. Some formats are not longer playable and will be lost forever. Time to have a "true" standard!
I don’t know what this video has to do with your formats concern but I’m glad you enjoyed it.
I find this very frustrating! I have been using the GH6 for cinema verité documentaries and, for various reasons I am trying to learn how to work in anamorphic format. I just got a Lawa Nano 27 mm and, in the camera, love it! But getting it into Final Cut Pro X and editing it has been a nightmare. I am shooting open gate, loving the desqueezed images in camera playback, but just can't get them into into FCPX. I've looked at countless videos, have not found documentation by either Panasonic or Laowa that actually shows HOW rather than pitches for the format or product.
It's been like asking someone "What time is it?" and then being told how to make a watch.
I am not a newbie by any means, but I certainly feel frustrated. Any leads for step by step how-to on how to get open gate anamorphic from the GH6 into FCPX?
I’m no longer an FCP editor, but as I recall there are anamorphic squeeze properties in the inspector. Worst case you manually scale the footage 150% wide. But there’s auto scaling, I’m quite sure.
Thoughts on the S5II vs the GH6?
Both are great but I’d compare to the S5IIX. Better AF in the S, smaller and lighter form factor (lenses make a big difference) in the GH. I’d have to do a full side by side but that could be a good topic!
If only shooting ProRes RAW was more economical. I appreciate the charts.
Economical?
@@photojoseph , hard drives for days with them huge files.
@mrheng562 so shoot HEVC. Raw is big. And both ProRes raw and blackmagic raw are compressed raw. Try true 444 raw!! You can’t change physics. All you can do is compress it.
Man this is really helpful!!!!!! Thanks 🙏. Nowadays in mid 2023 for about the same price we can get a S5IIx or GH6 or a ZCAM E2 S6 or a BGH1 😅. Could you help us choose !!!!! Just for anamorphic shooting 🎉❤
Not an easy answer. First, separate MFT (GH6, BGH1) from Super35 (E2) from full frame (S5IIx). Different lens requirements at different costs. (I don’t know the E2 specs so won’t talk about that). GH6 and BGH1 support time code input; S5IIx does not. No monitor on the BGH1 so you have to rig it. Too many differences to know without a LOT more info. If you want a personalized recommendation, consider booking a call with me www.photojoseph.com/1to1
@@photojoseph yeah kind of make sens I knew it was a not a one answer questions …. For sure I ll talk to you soon !!! Thanks a lot for your time and all the tips !!!!
Since we see the latest Fuji cameras are capable of shooting internal 12 bit. Im hoping Panasonic adds this to our GH6 bodies soon,. 12 bit raw internal will be a holy grail for most of us. Same guts as one another.
This Anamorphic test is absolutely fantastic.
Glad you enjoyed the video, thanks! 12-bit internal on Fuji - are you sure? I just searched for that and only found reference to external 12-bit RAW, same as LUMIX. Also no one can capture internal compressed RAW. It’s a (ludicrous, ridiculous, must-be-ended) patent owned by RED. The only reason blackmagic cameras can record internal blackmagic raw is because it’s not actually raw. It’s partially debayered which skirts the patent. That said I do like bRAW. It’s a nice image and a good compromise. The whole thing is nuts.
@@photojoseph My apologies, I just found the article on the Fuji and the 12 bit Raw. Its output is in two flavours of Raw, Pro Res and Black magic Braw. Your totally right. At least if we could have Braw in these cameras, that would still be better than the prores.
@@photojoseph problem solved with atomos ninja. Great Ssd solution.
🔥🔥🔥
👏👏👌Stellar !!
Great video! I don't have a GH6, but fascinating stuff nonetheless!
Thanks for watching! Now's the time to get one… GH6 is $500 off! (link in description)
@@photojoseph Thank you - and yes, the GH6 looks great - but I'm currently waiting for a new S series camera to be announced....which reminds me, how was Tokyo? ;)
very helpful thanks @photojoseph !
🙏🏻
Very cool man! Im interested in how the lenses will work with fuji xh2s, which can shoot 6,2K opengate internal prores HQ in a 3:2 format. Think open gate shooting with this might be even more versatile than the gh6.. and more lovely bokeh from the larger sensor
the XH2S is APS-C right? That’s perfect for these lenses. Let us know how it turns out! You can also do this on the S1H in APS-C crop but it’s not the full 5.9K resolution.
@@photojoseph yes, its aps-c. Looking forward to trying it once the units starts shipping
It's a shame none of Sony FX cameras shoot open gate (3:2). It would be ideal with 1.6x Sirui lenses ...
And it's kinda sad that BMPCC has 16:9 sensor :(.
Yep, the BMPCC cameras are good but their S35 sensor is limiting. Guess it’s time to get a LUMIX! 😁
@@photojoseph The only Lumix I would get is S1H which also shoots open gate 3:2 on full frame. Problem there is it's only 24p, which will be a bit problematic here in Europe with indoors shoots, cause all lights will flicker on me if 25p is not used.
If Sony adds opengate 3:2 shooting to FX6 I will buy it. Now I'm kinda hesitant.
@@JoATTech frame rate alone doesn’t create the flicker. It’s a combination of shutter speed/angle and frame rate. You can shoot 24p in 50Hz lighting and avoid flicker. Watch this video: th-cam.com/video/0kAuDuV9K9U/w-d-xo.html
I'm a little bit confused though, the UHD shots seem to be wider than the OpenGate shots, so they get more of the scene into the shot. Isn't that the case?
UDR?
@@photojosephsorry I meant UHD. The first two options you compare, I think the non-opengate captures a wider angle?
@@flyjfk I see. No; UHD, C4K and 3:4 Open Gate all capture the same full sensor width. If you can time stamp the comparison you’re referring to I’ll see if I can explain what’s up.
@@photojoseph I think I’m confused about the value of the anamorphic lens with Open Gate. If a regular (non-anomorphic lens) can capture the shot as large as possible, what does the anamorphic lens add? In the video, the biggest area is the open gate; so we can just crop it to get an anamorphic feel?
@@flyjfk Stretch to get more pixels, but largely it’s about the look. Anamorphic has a unique look over standard lenses, from the falloff to the bokeh to the lens flares.
Can you confirm that laowa nanomorph is much less sharp than Sirui? From your footage it looks like that. I was thinking about Laowa Nanomorph 20mm T2.2 m43 with Open Gate on GH6 to get wide angle shot using most image details (choir recordings) but the lens is soft, than why bother.
It isn't as sharp, however I'd consider the SIRUI more "clinical". If you want a super clean lens then yes the SIRUI is a better option. If you want a lens with some natural character, then the Nanomorph may be a better option.
@@photojoseph Natural character is nice euphemism. What I need is as sharp as possible, as wide as possibe, as fast as possible 1.33x or 1.5x lens. Sirui 24mm is a bit too narrow with 1.33x for my needs. This laowa would be OK, but is it is as soft as its bigger brothers, than it is no use for me
I never understood the vertical video, are people completely unable to turn their mobile devices sideways?
sorry… I have to say it… "OK, boomer" haha (yeah I'm with you). Fact is, vertical video is here to stay. Like it or not. I realized we were doomed when I watched someone watching a normal horizontal video… but holding their phone vertically. So to answer your question… yes… some people are completely unable to turn their phone sideways! That said, it's an ideal format for short form when. you're already holding the phone vertically, so yeah, it's here to stay.
@@photojoseph Gotcha, although I am far from "boomer" lol. As a filmmaker, vertical video is irrelevant to me, or at least I hope we will never experience movie theaters or TV sets with vertical screens 😂
I think you meant “vertical” 🤨
@@photojoseph Thank you, yes, just corrected it 😄
what kind of lamp is this on a tripod?
Some cheap Amazon “vintage” lamp. If you breathe too hard on it it’ll fall over but it does look good!
I wish open gate on 5.8k wasn't limited to only 200 mbit for internal recording, considering 4.4k has an unnecessary big crop. Buying an additional recorder like the atomos ninja V+ just for open gate recording when you can do most other things fine with the GH6 internally doesn't add up to me personally, considering the price of the recorder itself when you don't really use it for professional work to justify the usage of it. 400 mbit or more would already be much better for such a great feature
It comes down to processing power. Nothing is limited unnecessarily. Processing that much data and recording it to high bitrate All-I takes resourses. The camera does not have unlimited power!
@@photojoseph True. Considering how capable it alredy is, that's easy to forget.
I'll take my words back on the limitations.
I can't fine 5.7k Pro Res 422, 1.9gb on my GH6, am i blind?
Australia
First, you need to switch to ProRes. Just above the resolution selection menu, you can switch from MOV to ProRes
Anamorphic is great on the multiplex big screen but space is wasted on the home screen.
Has nothing to do with space… it’s a look. Anamorphic looks good on iPhones or movie theaters.
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I wish I could afford a GH6 I have a LUMIX G7
It’s $500 off right now… never a better time! geni.us/LumixGH6
Your music sound track is a little over the top when you are not talking, but it's the only thing we have to listen to when you are not talking, so it's manageable. When you are talking however, you need to decide whether you want us to listen to what you have to say, or the incessant and repetitive musical phrase that you seem to think is required to hold our attention. In fact, at least for me, it does just the opposite. Add to that the detailed nature of your content, and you get the perfect bail.
“Add that to the detailed nature of my content and you get the perfect bail”. Sounds to me like details aren’t your thing, Glen. Sorry, but details are what I provide. Music balance is a tough nut to crack and I’ll take it under advisement that it may be too loud, but removing details are not going to happen to appease one viewer.
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Am I the dumb boss? That’s nice.
10 minute, 18 second mess.
Wow. Charming.