Can the LUMIX GH7 keep up with the stellar ARRI Alexa Mini LF? That's what we set out to find when we created "No Good Legend" short film! Hopefully you all enjoy this behind the scenes content of a proper production like this! Check out all the sponsor that supported us and made this possible down below! 🤠 No Good Legend Trailer: ============================= ruclips.net/video/IKi1Wk9U7jo/видео.html Our Wonderful Sponsors! @craterrcrew www.hollyland.com kondorblue.com shop.panasonic.com/pages/lumix nanliteus.com bokehrentals.com/ blackstone-films.com/blackstone-studios/ Gear used in "No Good Legend": LUMIX GH7: geni.us/LumixGh7 HollylandPyro S: geni.us/HollylandPyroS Hollyland Coms: geni.us/HollylandC1Pro Nanlite: geni.us/NanLuxLight Kondor Blue GH7 Cage: geni.us/GH7Cage Get 70% off Audiio Pro Account! audiio.com/connorm Discount Code: connor70 Creators of "No Good Legend" ruclips.net/video/gQKZdrc60WU/видео.html ruclips.net/video/B0tVqrge0xI/видео.html ruclips.net/video/-J8H6LLCfik/видео.html ruclips.net/video/6bidlZoceuw/видео.html ruclips.net/video/XnP7fChww0k/видео.html ruclips.net/video/9xMRp4BQNQM/видео.html ruclips.net/video/yO8BOyzOzLo/видео.html ruclips.net/video/L1cvTI0REWQ/видео.html
@@iangrant3615 The difference is between content that Netflix licenses vs content that Netflix funds for production. They have a right a set specific quality standards for the work they fund. They also have a right to select third party content based past and estimated perceived performance regardless of production quality.
Excellent 👍 video. The GH7 is a must for me coming GH5. With the way it’s I believe the successor to the S1H might be better than the Alexa LF. Nice to see Armando there
Colour is nice … but the big thing that’s noticeable to me is the way the cameras render motion ( motion cadence) ARRI looks like film but the GH7 has that digital look ( slight soap opera effect ) . But it’s not too bad especially considering the price.
Could it be that the medium you're viewing on -- as well as the rest of us impacts our perception of motion cadence comparisons between the Arri LT and the GH7 with the Arri treatment?
Exactly that's the critical factor, very well spotted, it's all, mostly, about motion. So many people miss that and think it's the colours or the dynamic range etc. It's mostly about motion. Very well pointed out, bravo.
It may be some detail of how they were shooting. Maybe the frame rate or shutter angle? The GH7 has amazingly low levels of rolling shutter. Even the GH5 can create fantastically filmic work using the right lenses. Here's a shot using Sankor anamorphics and a Nikkor taking lenses that's stunning. It pushes the background blur a bit hard, but wow. ruclips.net/video/5MfsENgVG1Y/видео.htmlsi=iGcUumVvDKWgporI
I shot a feature film with the GH5. So, yea, the GH7 is ready for filmmaking of any level. My own experience is all I need to make that decision. The inclusion of the ARRI log profile is an added bonus.
I shot a spec Star Wars short in the Glamis Dunes with FS700s in raw 4k recorded on Odyssey 7Q+ external recorders and GH5 as a B cam. All anamorphic using classic Bolex 16/32s and Contax Zeiss taking lenses. It came out beautiful on both. Of course the raw 4k CinemaDNG off the 7Q was gorgeous. Nothing like the Glamis Dunes during golden hour and sunset under blue skies. The anamorphic and raw improvements on the subsequent GH6 and 7 are fantastic. I can see students and indies using the GH7 as a viable personal cam for music videos and documentary work including its anamorphic modes and then graduating up to full hollywood production.
Thank you Connor for this wonderful side by side of the two cameras. I was so looking for such a comparison, because I want something I can have ready when I do movie shorts in the future. I'm on the fence in choosing between the GH7 and a full frame camera. The problem is I have the original GH1 (so very much worthy of justifying the GH7 jump) and a mess of lenses for it, though I admit to having two full frame designed lenses for it as well... the Canon FD 35mm 3.5 from the early seventies and the the Canon FL19mm from the mid sixties. Great for period pieces. Dynamic range and FOV, etc., have been sticking points for me... but per your video, and for the price of getting the Arri Log, I think I'll spring for the GH7. Obviously for me the Alexa is out of the question per price. Thanks again Connor.
Excellent information on the GH7 as well as production details. I'd say that the GH series has been able to create highly filmic visuals in the right environment for docs, drone, indie and b-cam work. On the flip side most serious studio productions have budgets that really dwarf your camera budget. Even in high-end ARRI shoots with say 3 or 4 simultaneous ARRIs shooting and all of the hardware required to sync them up to video village and record them, the total cost of cameras (probably rented) is less than a percent of the budget. In this case the price of the camera setup is almost inconsequential so the DP is going to get the best equipment he can find that allows him to do his best work. He'll then charge the production for his full services including the equipment. The cost of the DP, well, sometimes that is above the line and not inconsequential.
Thank you! We were using the Hollyland Pyro 7, but I don't think it's available quite yet! I'll add it to the description of this video when it is available!
As well, I have a suspicion the GH7 is utilizing a newer, more advanced sensor than that of the GH6, due to a portion of GH7 sensor's pixels devoted to phase-detect autofocus chores. ☝🏽😲 Is this correct?
I would think braw is a better codec than ProRes clog to match with other cameras and do heavy post production. But if you use braw through hdmi to a BM video assist, there is no way to add a video transmitter since it’s not a regular video signal going through the hdmi port? Or maybe the BM assist does it through sdi ? I know the Atomos doesn’t
I suppose that’s true, but I think we wanted to test it as is for the sake of comparison if that makes sense. It was a test as much as we were making a short film. Appreciate the comment!
Thank you for mentioning commercial film makers - IE not Hollywood Cristopher Nolan types. I know people that film commercials, business to business videos, music, concerts, training videos, class rooms, seminars, etc. They do not need a $40k RED camera. They of course want it to look as good as humanly possible, but the margins just aren't there or worth it for what is gained. We are now at the point where our amateur concert footage or business training seminar videos will look ppreettttyyyy damn close though with the GH7.
I'd be interested to see Panasonic make Arri Log available on their full-frame cameras. I bet that would close the dynamic range and lensing gap. Maybe that would be TOO good for Arri's comfort? Here's hoping for an S2H with no compromises. As of now, the S5 II X is awfully compelling.
it's coming. Panasonic said the collaboration with Arri will continue on future cameras. Who knows, they might end up snatching them up like Nikon did RED. NO ONE saw that coming.
all looks so well but i have to say no matter how they rig and present these smaller camera. it still has the digital look as supposed to a cinema camera.
Actually those of us familiar with shooting on Lumix GH6 have found it to exhibit a shocking degree of film cadence without the digital edginess realized grom the other Lumix cameras -- including the full frame S5ii snd S5iix. I don't know about GH7's look, re: filmic smoothness compared to the relative iconic look of GH6.
I mostly shoot ultra low budget shorts and debating between getting a gh7 over a s5iix due to the ArriLog. Just not sure its worth the sensor size compromise, though I shoot a lot of fight scenes so the lower rolling shutter and better ibis of the MF3 sensor may also be nice. I've always rented my gear but want something sub $2k I can use when there isnt a budget to rent equipment.
To be upfront, LUMIX provided the camera for the production (as it was unreleased when we were filming), but no it's not an "ad". All of us are apart of Craterr, which is a collection of filmmaking RUclipsrs trying to make these large scale projects possible! It's pretty amazing how it is working so far. I'm open to feedback on how we can communicate that better. Thanks for your comment Jean!
Well yeah, they were sponsoring the production?? How do you think movies get made exactly? Do you think all the Audi cars in marvel movies are there by accident? Marketing provides funding so that we can make creative things. The difference is that we disclose what is sponsored, proper movies don't. Unfortunately, we are not rich to self fund a large production.
@@connormccaskill I understand your point, but are you aware that many of us have stopped trusting camera reviews because of sponsored RUclips content? What's the point of listening to a review if we know the reviewer is paid to speak positively about the product? I hate to say it, but come on, it's no wonder we feel this way...
I don't disagree with that. That's why you should only give time to people who you think are on the up and up. For myself, I only take sponsorship from products that I either enjoy myself or that I think can be useful to others. I've had to turn down a bunch of deals because of that. I feel like a majority of "reviewers" that I personally know do the same. Also, I don't make reviews for products if it is sponsored, because I feel like it is more of a commercial or even just showing us using it in some way. It's a lot to covey in text so sorry for the longer message.
The soul of the video is in the production design, lenses and the lighting that was used. It’s nice that ARRI provides a color conversion interpretation for the GH7, but the same can be done with a lot of cameras that have log/raw capabilities. I doubt that the filmmakers who have the budget to hire ARRI will skimp on hiring a colorist or have DIT adapt other cameras to fit the needs of their production. It saves many minutes of looking at color charts and tweaking primary wheels - if, as a colorist, one is charging by the hour, it’s sure nice to have. Take any modern prosumer camera (a7siii, Fuji xt/xh, etc) they all have custom profiling capabilities - beyond initial ballpark, the rest is done by professional colouring skills if different sensor is used. ARRI is exceptional because of how close their sensors resemble each other - same can’t be said about Panasonic, Blackmagic and many others. That means that even by applying ARRI profile to a Gh7 you’ll still be left with production variations given the price point difference between the GH7 and the ARRI. The dream of “mini pocket ARRI” is still alive though and maybe we’ll see it for around 10-15k $ in the near future.
Maybe so. I think what you are saying is mostly true, but I'd bet colorist have camera preferences for sure when it comes to grading. Some camera LOGs are just more challenging to deal with. So if LUMIX can use the ARRI standard, I think that'll be very appreciated long term.
@@connormccaskill I’m all for cross-support and the removal of gatekeeping in the camera industry, because cameras we use is case sensitive and can vary even on one project. Manufacturers need to realise that “good image quality” has become so accessible there is very little point in bragging which is better, so why not let filmmakers the freedom to cross-use as many as possible for every budget line and for every crew size.
So to expose next to the arri do you bump iso to match being you prob dont change the lighting and retake for the Gh7 angle ?could you just run all audio off the gh7 w xlr2 and set record button to trigger all the cameras via atomos airglu for the sync process so all on file properly synced in cam Gh6? Or is wireless booms and lavs not good enough?🤯🤷Thank You.
We compensated with different lenses on the GH7. As far as everything else you said, I’m going to go with a solid… maybe ha. Can you condense your question?
M43 sensors don't let less light in than a full frame sensor. The DOF just appears differently. The GH7 at 800 iso would match the Alexa LF at 800 iso with the same lens and aperture. The only difference between sensor sizes is that they physically are different in size so the field of view is different(which effects how much DOF is produced).
Filmmaker me loves all the gadgets and toys and all the cool lighting equipment. But producer me knows that most of it is really unnecessary, and would get rid of the ARRI camera and most of the toys. That stuff just eats up time and requires more crew. The audience doesn’t care - sure, they want a decent image but above all it’s a good story with compelling characters. And for all the money and resources the “industry” has at its disposal, they’ve been failing miserably at that lately.
תמיד יש את הסרטונים האלה שרק מוכיחים כמה אנשים לא מודעים למציאות. תקציב המצלמה בסרט הוליוודי כלל לא רלוונטי. גם הסרט שצולם בסוני FX3 תקציבו היה מעל ל80 מיליון דולר..לא סרט דל תקציב. באותה המדיה יכלו לצלם באלסקה מיני והתקציב היה נשאר כמעט זהה….כל כל יום צילום יש בממוצע יום וקצת פוסט…וגם למה שמישהו ירצה לצלם סרט בלומיקס…מה ההיגיון כשיש לך את היכולת לעבוד עם הציוד הכי טוב ואתה בוחר לעבוד בקקי? בקיצור עוד סרטו חסר תכלית…
@@Lu-sj6ni that sensro sucks!! too little to retain .. great image quality.. it' good for sunny days maybe.. i own a gh5 and it's by far my worst purchase .. artifacts bad color.. no iso perfomrance.. i seldom use it . and when i don't like the image quality .. just once i did.. so sad
Can the LUMIX GH7 keep up with the stellar ARRI Alexa Mini LF? That's what we set out to find when we created "No Good Legend" short film! Hopefully you all enjoy this behind the scenes content of a proper production like this! Check out all the sponsor that supported us and made this possible down below!
🤠 No Good Legend Trailer:
=============================
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Gear used in "No Good Legend":
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HollylandPyro S: geni.us/HollylandPyroS
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Creators of "No Good Legend"
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@@connormccaskill Thanks so much .💯🫡🎉
This is what Fujifilm should be doing. Put in raw in their mirrorless camera.
Damn, the shots look insane, what a set too! Really cool video dude, just shows how good consumer grade cameras are getting 😳
Thanks bro! Yeah, the lines between a proper cinema camera and consumer cameras get closer every year!
Netflix needs to approve this and the S5 II / S5 IIX as primary cameras.
Haha that would be something if they did!
@@connormccaskill They approved the S1H, and I don't see how that is superior to the S5 IIX. They both even have fans!
While they show Blair Witch Project and Paranormal Activity on Netflix, they have no business not approving these cameras for use lol.
S1H provides up to 14+ stops of dynamic range in V-Log and V-Gamut. How does S5ii[x] compare?
@@iangrant3615 The difference is between content that Netflix licenses vs content that Netflix funds for production. They have a right a set specific quality standards for the work they fund. They also have a right to select third party content based past and estimated perceived performance regardless of production quality.
LUMIX and ARRI…Nikon and Red…big competitors now trying to level up in different ways. 😮
Yup! It’s an exciting time for cameras!
Thanks for the amazing video! I bought the GH7 as an upgrade from my GH5 :)
That’s awesome 👏 I’ve heard that with the GH series you should only get the “odd numbered cameras” ie gh3, gh5, gh7 😅
@@connormccaskill 😃
@@kenslyder smart🫡
@@connormccaskillcan’t wait for gh9
lol I suppose
That rig is so sick and the results look great
Yeah the camera team put in the work! Appreciate you stopping by to say hey 👋🏻
@@stalman georgous💯
Excellent 👍 video. The GH7 is a must for me coming GH5. With the way it’s I believe the successor to the S1H might be better than the Alexa LF. Nice to see Armando there
Yeah, I think if this goes well for LUMIX we could see ARRI LOG get introduced to other camera lines
Thanks for taking us along!
For sure! Thanks for tagging along
Colour is nice … but the big thing that’s noticeable to me is the way the cameras render motion ( motion cadence) ARRI looks like film but the GH7 has that digital look ( slight soap opera effect ) . But it’s not too bad especially considering the price.
Could it be that the medium you're viewing on -- as well as the rest of us impacts our perception of motion cadence comparisons between the Arri LT and the GH7 with the Arri treatment?
Exactly that's the critical factor, very well spotted, it's all, mostly, about motion.
So many people miss that and think it's the colours or the dynamic range etc.
It's mostly about motion.
Very well pointed out, bravo.
It may be some detail of how they were shooting. Maybe the frame rate or shutter angle? The GH7 has amazingly low levels of rolling shutter. Even the GH5 can create fantastically filmic work using the right lenses. Here's a shot using Sankor anamorphics and a Nikkor taking lenses that's stunning. It pushes the background blur a bit hard, but wow.
ruclips.net/video/5MfsENgVG1Y/видео.htmlsi=iGcUumVvDKWgporI
I shot a feature film with the GH5. So, yea, the GH7 is ready for filmmaking of any level. My own experience is all I need to make that decision. The inclusion of the ARRI log profile is an added bonus.
Oh absolutely! I think with the addition of ARRI LOG it just made it that much more useful
I shot a spec Star Wars short in the Glamis Dunes with FS700s in raw 4k recorded on Odyssey 7Q+ external recorders and GH5 as a B cam. All anamorphic using classic Bolex 16/32s and Contax Zeiss taking lenses. It came out beautiful on both. Of course the raw 4k CinemaDNG off the 7Q was gorgeous. Nothing like the Glamis Dunes during golden hour and sunset under blue skies. The anamorphic and raw improvements on the subsequent GH6 and 7 are fantastic. I can see students and indies using the GH7 as a viable personal cam for music videos and documentary work including its anamorphic modes and then graduating up to full hollywood production.
Thank you Connor for this wonderful side by side of the two cameras. I was so looking for such a comparison, because I want something I can have ready when I do movie shorts in the future. I'm on the fence in choosing between the GH7 and a full frame camera. The problem is I have the original GH1 (so very much worthy of justifying the GH7 jump) and a mess of lenses for it, though I admit to having two full frame designed lenses for it as well... the Canon FD 35mm 3.5 from the early seventies and the the Canon FL19mm from the mid sixties. Great for period pieces. Dynamic range and FOV, etc., have been sticking points for me... but per your video, and for the price of getting the Arri Log, I think I'll spring for the GH7. Obviously for me the Alexa is out of the question per price. Thanks again Connor.
Appreciate you sharing
You could make a strong case for it for RUclips run & gun. Amazing stabilization. I don’t own any lenses but definitely B Cam worthy
Exactly! It’s a strong contender for B Cam
Excellent information on the GH7 as well as production details. I'd say that the GH series has been able to create highly filmic visuals in the right environment for docs, drone, indie and b-cam work. On the flip side most serious studio productions have budgets that really dwarf your camera budget. Even in high-end ARRI shoots with say 3 or 4 simultaneous ARRIs shooting and all of the hardware required to sync them up to video village and record them, the total cost of cameras (probably rented) is less than a percent of the budget. In this case the price of the camera setup is almost inconsequential so the DP is going to get the best equipment he can find that allows him to do his best work. He'll then charge the production for his full services including the equipment. The cost of the DP, well, sometimes that is above the line and not inconsequential.
Lovely video Connor.
What's that monitor on both the alexa and the GH7?
Thank you! We were using the Hollyland Pyro 7, but I don't think it's available quite yet! I'll add it to the description of this video when it is available!
A lot of wonderful people in this video :)
For sure, some of the best! Appreciate the kind words
This is amazing Connor. A quick question please. Can the ARRI Log be bought and install in other cameras by Lumix like the S5IIX?
Appreciate it! So far it’s just the GH7 and the GH6 but who knows! They may add it to the S52X which would be crazy cool
@@connormccaskill The world is waiting on that brother.
Kinda difficult, because it has to be certified by Arri and I think the sensor on the s5ii and s5iix is different then the gh6 and gh7
As well, I have a suspicion the GH7 is utilizing a newer, more advanced sensor than that of the GH6, due to a portion of GH7 sensor's pixels devoted to phase-detect autofocus chores. ☝🏽😲
Is this correct?
I would think braw is a better codec than ProRes clog to match with other cameras and do heavy post production.
But if you use braw through hdmi to a BM video assist, there is no way to add a video transmitter since it’s not a regular video signal going through the hdmi port? Or maybe the BM assist does it through sdi ? I know the Atomos doesn’t
Braw would be awesome..
Maybe an update later? If possible
You were amazing Connor! Def a Cam Op I would hire! Great ideas, super collaborative! You killed it!
So kind of you to say! I really enjoyed working with you! You are extremely talented
3:43 please could you find out the name of the app that Brittney was using?
Why didn’t you guys use a speedbooster? Could’ve gotten more character from the Atlas lenses.
I suppose that’s true, but I think we wanted to test it as is for the sake of comparison if that makes sense. It was a test as much as we were making a short film. Appreciate the comment!
Thank you for mentioning commercial film makers - IE not Hollywood Cristopher Nolan types. I know people that film commercials, business to business videos, music, concerts, training videos, class rooms, seminars, etc. They do not need a $40k RED camera. They of course want it to look as good as humanly possible, but the margins just aren't there or worth it for what is gained. We are now at the point where our amateur concert footage or business training seminar videos will look ppreettttyyyy damn close though with the GH7.
Yeah man! Top of the line and consumer cameras get closer every year
I'd be interested to see Panasonic make Arri Log available on their full-frame cameras. I bet that would close the dynamic range and lensing gap. Maybe that would be TOO good for Arri's comfort? Here's hoping for an S2H with no compromises. As of now, the S5 II X is awfully compelling.
it's coming. Panasonic said the collaboration with Arri will continue on future cameras. Who knows, they might end up snatching them up like Nikon did RED. NO ONE saw that coming.
it does look good, but you can still easily tell which is alexa ;)
Yeah the Alexa has some magic to it!
all looks so well but i have to say no matter how they rig and present these smaller camera. it still has the digital look as supposed to a cinema camera.
Actually those of us familiar with shooting on Lumix GH6 have found it to exhibit a shocking degree of film cadence without the digital edginess realized grom the other Lumix cameras -- including the full frame S5ii snd S5iix.
I don't know about GH7's look, re: filmic smoothness compared to the relative iconic look of GH6.
I mostly shoot ultra low budget shorts and debating between getting a gh7 over a s5iix due to the ArriLog. Just not sure its worth the sensor size compromise, though I shoot a lot of fight scenes so the lower rolling shutter and better ibis of the MF3 sensor may also be nice. I've always rented my gear but want something sub $2k I can use when there isnt a budget to rent equipment.
Muy inspirador este tipo de videos
¡Me alegra que hayas disfrutado el vídeo!¡ Te agradezco que veas mi video!
Ayyyyyyy those hat doeeeeeee
It's my new favorite hat bro!
It says translate to english below your comment cammackey😂looks almost as good as your colorgading!🎉
Amazing job as always dude, love you bro!
Thank you man! I'm really grateful to be apart of this!
Awesome! So when does the western come out?
July 18th!
Every RUclipsrs were on this movie? 😅Is this an ad for the GH7?
To be upfront, LUMIX provided the camera for the production (as it was unreleased when we were filming), but no it's not an "ad". All of us are apart of Craterr, which is a collection of filmmaking RUclipsrs trying to make these large scale projects possible! It's pretty amazing how it is working so far. I'm open to feedback on how we can communicate that better. Thanks for your comment Jean!
Yes it’s clearly an Ad for LUMIX, Kondor Blue and Hollyland
Well yeah, they were sponsoring the production?? How do you think movies get made exactly? Do you think all the Audi cars in marvel movies are there by accident? Marketing provides funding so that we can make creative things. The difference is that we disclose what is sponsored, proper movies don't. Unfortunately, we are not rich to self fund a large production.
@@connormccaskill I understand your point, but are you aware that many of us have stopped trusting camera reviews because of sponsored RUclips content?
What's the point of listening to a review if we know the reviewer is paid to speak positively about the product? I hate to say it, but come on, it's no wonder we feel this way...
I don't disagree with that. That's why you should only give time to people who you think are on the up and up. For myself, I only take sponsorship from products that I either enjoy myself or that I think can be useful to others. I've had to turn down a bunch of deals because of that. I feel like a majority of "reviewers" that I personally know do the same. Also, I don't make reviews for products if it is sponsored, because I feel like it is more of a commercial or even just showing us using it in some way. It's a lot to covey in text so sorry for the longer message.
The soul of the video is in the production design, lenses and the lighting that was used. It’s nice that ARRI provides a color conversion interpretation for the GH7, but the same can be done with a lot of cameras that have log/raw capabilities. I doubt that the filmmakers who have the budget to hire ARRI will skimp on hiring a colorist or have DIT adapt other cameras to fit the needs of their production. It saves many minutes of looking at color charts and tweaking primary wheels - if, as a colorist, one is charging by the hour, it’s sure nice to have. Take any modern prosumer camera (a7siii, Fuji xt/xh, etc) they all have custom profiling capabilities - beyond initial ballpark, the rest is done by professional colouring skills if different sensor is used. ARRI is exceptional because of how close their sensors resemble each other - same can’t be said about Panasonic, Blackmagic and many others. That means that even by applying ARRI profile to a Gh7 you’ll still be left with production variations given the price point difference between the GH7 and the ARRI. The dream of “mini pocket ARRI” is still alive though and maybe we’ll see it for around 10-15k $ in the near future.
Maybe so. I think what you are saying is mostly true, but I'd bet colorist have camera preferences for sure when it comes to grading. Some camera LOGs are just more challenging to deal with. So if LUMIX can use the ARRI standard, I think that'll be very appreciated long term.
@@connormccaskill I’m all for cross-support and the removal of gatekeeping in the camera industry, because cameras we use is case sensitive and can vary even on one project. Manufacturers need to realise that “good image quality” has become so accessible there is very little point in bragging which is better, so why not let filmmakers the freedom to cross-use as many as possible for every budget line and for every crew size.
Excellent comment.
@@kinoromantic
Very insightful and true.
So to expose next to the arri do you bump iso to match being you prob dont change the lighting and retake for the Gh7 angle ?could you just run all audio off the gh7 w xlr2 and set record button to trigger all the cameras via atomos airglu for the sync process so all on file properly synced in cam Gh6? Or is wireless booms and lavs not good enough?🤯🤷Thank You.
We compensated with different lenses on the GH7. As far as everything else you said, I’m going to go with a solid… maybe ha. Can you condense your question?
@@connormccaskill so if 1.4 ff equals 2.8 mft meaning less light. Compensate exposure w iso ? Im new🤪
M43 sensors don't let less light in than a full frame sensor. The DOF just appears differently. The GH7 at 800 iso would match the Alexa LF at 800 iso with the same lens and aperture.
The only difference between sensor sizes is that they physically are different in size so the field of view is different(which effects how much DOF is produced).
The camera really doesn’t make much difference for that. Really the focal length is what we needed to account for mostly.
Why was there no gold mount on the GH7?
I made it to Hollywood. As a crash camera 😂
Fx3 or gh7?
This is location is on the high demand for youtubers lol
Is it? That's awesome if it is. It's a really cool spot
Filmmaker me loves all the gadgets and toys and all the cool lighting equipment. But producer me knows that most of it is really unnecessary, and would get rid of the ARRI camera and most of the toys. That stuff just eats up time and requires more crew. The audience doesn’t care - sure, they want a decent image but above all it’s a good story with compelling characters. And for all the money and resources the “industry” has at its disposal, they’ve been failing miserably at that lately.
Short answer: already has been 😎
Haha
@@connormccaskill the footage looks amazing. Very excited to see the full film!
Unnecessary lenses and weight. Major production is so pretentious. Get you gh6/7 abbe run and gun.
FIRST
indie films with lower budgets
The GH7 would shine for that
@@connormccaskill I have the G9II right now but at some point might make a trade for the GH7.
Bunch of muppets selling the consumer goods.
תמיד יש את הסרטונים האלה שרק מוכיחים כמה אנשים לא מודעים למציאות. תקציב המצלמה בסרט הוליוודי כלל לא רלוונטי. גם הסרט שצולם בסוני FX3 תקציבו היה מעל ל80 מיליון דולר..לא סרט דל תקציב. באותה המדיה יכלו לצלם באלסקה מיני והתקציב היה נשאר כמעט זהה….כל כל יום צילום יש בממוצע יום וקצת פוסט…וגם למה שמישהו ירצה לצלם סרט בלומיקס…מה ההיגיון כשיש לך את היכולת לעבוד עם הציוד הכי טוב ואתה בוחר לעבוד בקקי? בקיצור עוד סרטו חסר תכלית…
Panasonic losers just need to make their own full frame sensors, you cant trust sony to give you their best sensors.
no gh7 is ready to be forget..
and why is that?
@@Lu-sj6ni that sensro sucks!! too little to retain .. great image quality.. it' good for sunny days maybe.. i own a gh5 and it's by far my worst purchase .. artifacts bad color.. no iso perfomrance.. i seldom use it . and when i don't like the image quality .. just once i did.. so sad
Conor, which adapter did you use on the GH7?🫵🏾💪🏿