So getting the G9 was the easy bit.
The rig used by one of the moving shooters at the recent school “Celebration” (Black Magic Pocket Cinema I think?). These guys are seriously pro, so I am aiming at the big void between their work and the basic 1080p in Auto stock we have been shooting for You-tube on an EM1 mk2 (EM1’s have nice 4k but relatively poor 1080).
Now the many choices of format, bit rate and codec have raised their heads, making me very happy I have several Custom settings (6 if you count C-0 or no custom-as is setting) and a plethora of function buttons to work with.
The Custom sets (all other settings the same except Zebras).
C-0 (Video M setting as set). The school rarely needs anything better than 1080 for most things, so my base setting will be that, but in the interest of best quality I will use 25p (PAL) in Natural*, 10 bit MOV format (MP4 was tempting for its smaller size, but I use Macs, so MOV makes sense). Why compromise on the quality available at any file size?
C-1 will be the same at 50p for slo-mo/movement shots.
C-2 will be my basic “better” quality format, based on many G9/GH5 shooters preferences, 4k, 10 bit, 25p, MOV in Natural* colour mode.
C-3/1 will be the same at 50p for better slo-mo.
C-3/2 is the bad light problem solver, but with issues of its own. 4k, 10 bit, MOV, 25p, Cinelike-D**. This is better apparently at night shooting and has more DR than Natural, but needs more processing.
C-3/3. This one is still in limbo. My thinking is either a “best I can do” production grade, HLG, 4k, 10 bit, 422, 25p, MOV, (but would rarely need and may not be able to process myself!) or a very lite 1080p, 25, MP4, 8 bit, just for run and gun. No rush.
The first four settings are important to get right now. These will be the base of my work flow, designed to be good, but also fast and easy.
The next level up, will require some up-skilling and will rarely be needed for my day to day.
The OSMO.
The OSMO is a lot easier thanks to offering fewer choices.
For day to day, 1080p, MOV, 50 will be fine at Normal quality.
For quality matching the G9’s 4k, I will use 4k, MOV, Cine-D (maybe), 50 at Best quality. This severely limits recording time as it heats up quickly, but I have no intention of using my “movement” camera for overly long scenes, just B-roll.
This is now, but who knows what is coming. I am sure my settings will change as my personal journey continues.
*Natural at -3 Contrast, -5 Sharpness, +0 NR and -2 Saturation based on the majority of shooters recommendations. This will require good technique as it lacks as much post processing power as the LOG/semi LOG settings. Avoiding strong contrast is needed, but much of what I shoot is in controlled light, so that should not be a real issue.
**Cinelike-D at -2 Contrast, -5 Sharpness, +0 NR and -1 Saturation based on the majority of shooters recommendations. This semi LOG setting will increase dynamic range, especially at night, but stays within easy post processing parameters.
Contrast reduction is a very common thread and ranges between -1 to -5, so I will go -3 in natural and -2 in Cine-D for now and see if it is enough. Tasmania has harsh light a bit like Scandinavia, but much of my footage will be indoors.
Sharpness is almost universally set at -5 for a smooth, flattering, very cinematic look. Only one blogger left it as was and their footage was brilliantly crisp, but looked more like good video, not serious cinema.
Noise Reduction is rarely touched.
Saturation tends to be either -1 or -2, so I will go -2 in Natural and -1 in Cine-D.