Was asked to film with Sean of strangerskateboards.us while he was in Tokyo for his new drop. We did everything on the fly pretty quickly, but it was a lot of fun to do. We filmed in Shibuya for a few hours and I came back another day to do some pick-up shots. I used the same setup as this video with a few changes. It was super easy to just go out and shoot with such a compact setup, but I want to improve it more.
It’s always fun to have actual content to make. Sometimes just having the gear isn’t enough. Hope to get my rigs into a studio situation soon for some more commercial and promo work!
4K UHD 60fps 4K, CINE-D
Converted to 24fps
Voightlander 40mm f/1.4 Leica M mount
Pentax 85mm f/1.8 M42 mount
Blue Kowa 16-H 2X Anamorphic Lens
Filmed in Shibuya, Tokyo.
Music is: While I’m Away by Equalibrum
Finally getting around to filming some new videos. Hit a few snags with life but more content should be rolling in relatively quickly from here on out.
I emailed Valdas of Aivascope to see if he’d let me try out his new and improved Aivascope. The video I did of the first one did well (a lot of people seemed to use it or stills from it to sell them…) and I’m still a fan. I only sold mine because I needed something I could use for anything and more often at night.
Well, that’s where this new version comes in. It was purported be be much sharper and better at fast apertures than the old one. And as you can see in the video above, that is VERY true. It gave me a chance to try one of my new favorite lenses, the Voightlander 40mm f/1.4 Leica M mount lens.
This lens seems to work with just about any setup I throw at it. I have more videos coming with this lens and another baby I picked up, the Canon 50mm f/18 L39.
The whole video was shot at f/1.4 and around ISO 800 pretty much. There might be a few shots at ISO 400 or f/2.0. The area of Tokyo we were in was very bright and had lots of lights. The Aivascope handled everything, especially the closeups, very well. The only issues I had were some flare ghosting by the custom variable diopter I thew together and a few shots where I forgot to turn off digital stabilization. It’s not bad overall and I’m still happy with the video. It really shows what the Aivascope can do. It doesn’t flare like the old one, but you still get some nice ones in the right light. The only thing I’m not sure sure about is the “D” bokeh, but it could grow on me.
As for the variable diopter used in this video, I made it from the focusing diopter glass on a Bell & Howel 2X anamorphic. The anamorphic part is cracked, so I picked up the lens super cheap. I designed my first ever 3D parts, and with some sanding they fit in a Pixco helicoid perfectly. Bam, a super sharp variable diopter for small anamorphics. It works on anything and REALLY surprised me with it’s quality, especially compared to the Focuser 8. Any aperture, any focal length. It’s only kryptonite is bright lights, they ghost in the elements and I can’t find out if I can fix that. It works, sometimes. Others… it looks really cheap. But for the 85% of shots where it’s super good, it’s still worth it.
I have to return the Aivascope in a few weeks, but I’ll try to get a few more videos done with it. I was planning to do an iPhone video with it, but iOS 12 bricked my phone. I’ll get a replacement soon and give it a shot.
I was lucky enough to get in on the first batch of the Rapido TehcnologyFVD-16A variable diopter. When this came out I was already in the market for a single focus solution, and Rapido just happened to have something that was exactly what I wanted and a few extras I didn’t know I wanted. I ended up getting the full set to make my anamorphic combo look like a monobloc lens. It’s not flawless but it’s very, very good.
I have the parts to use my Isco Ultra Star with this setup as well. I will shoot a bit with that after I finish practicing and tweaking with the Moller setup. Right now the only thing I’m missing is something in between the Moller and the Ultra Star, and then I’d have the anamorphic trifecta.
My Helios 44-2 isn’t in the best of shape. I like the atmosphere it gives, but it was a bit of a pain to set up in the Rapido Rear Metal Jacket. My Moller 32/2x isn’t so perfect either. But I absolutely love the look the combo gives. The best part with this new setup is that my shots look exactly the same with FVD-16a as without. I will push it a bit when I do some tests with my Ultra Star and my Leica Nocticron soon. But I hear that it also performs well with fast apertures.
I did have some slight issues with vignetting at first. But that was mostly caused by the original Rapido Moller clamp than the FVD. I ordered a new one from Jim and it works a charm. Before that I hacked together another clamp that let me set the Moller in the Helios a bit more and it worked well.
I had been filming on and off with the rig tweaking things and testing settings. Some plans fell through last Saturday and I was in the area anyway, so I decided to check out the Youtube Japan Hanami in Yoyogi park. I have been to a few of the early ones, and it’s not really my thing. (not really a Youtuber or drinker) I had some friends there and it was a good opportunity to film people without anybody freaking out. (Didn’t really work, my setup attracted all kinds of attention.) I didn’t stay long, but I got enough video to get a good run-and-gun feel for the bare rig. Everything was shot handheld with a monopod. I also had a Tiffen VND and a Marumi +1 diopter for a few shots. The only thing I wish I had was a matte box… I went ahead and bought a cheap basic one for this rig. I’ll get another really good one later.
I am so happy with the Rapido FVD… it’s exactly what I wanted. It destroys the SLR Magic Rangefinder in almost every way. It’s so much cleaner, sharper, and works better with fast lenses. The only thing I wish it was better at is that the focusing was smoother. Also, my current setup goes a tiny bit beyond infinity. Not sure if it’s my weird lens combo or the FVD itself.
I have a lot more practice to do with this setup, so I’ll most likely be uploading things shot with it and the Isco very soon. I also have some other projects coming down the line as well. Look forward to it!
Anamorphic Mode 60fps 4K, VLOG
Converted to 24fps
Helios 44-2 58mm lens with Rapido Rear Metal Jacket
Möller 32/2x Anamorphot with Rapido Full Metal Jacket
Rapido Technologies FVD-16A
Marumi +1 diopter
A few weeks ago I finally got my own drone. The Mavic Air came out at the right time and had the right specs for my needs, so I picked one up. I have flown drones plenty of times in Japan, either rentals or client’s drones, but this is the first one I have owned. It’s a different experience flying something that you personally have something invested in. One wrong move and it could be gone. So I haven’t done anything crazy with it.
Drones are banned in Tokyo, which is a shame. I have been working in Tokyo a lot recently and I haven’t been able to take it with me. Luckily, I live in Yokohama. With the exception of military bases, airports, events, and densely populated areas, it’s OK to fly here. I have been practicing in local parks, which were fine for gaining my bearings with it, but I can’t do too much crazy or intense flying. In sport mode the drone can cross a baseball field in seconds. With so many tall buildings and hills it’s easy for the Mavic to get out of sight really quickly. I plan to take it out to the beach when it warms up a bit more, but then I have the other fun issue of it being over water. I didn’t get it as a toy, it’s for filming only. Losing it would hurt my production values and wallet.
Overall it is a VERY solid drone. It packs up so tiny. My only issue is that it’s size doesn’t inspire confidence sometimes and can make it hard to see at a distance. I haven’t had any issues with connection or flying badly. But then again, I haven’t tried to push it at all. I only have two batteries right now, as my budget for film making is currently done. I had to sell a bunch of stuff to get this and something else, which I will be writing about very soon. I do want to fly it more often and try it out on some big projects, so I will invest in it a bit more when I can.
As for the video, I didn’t do much as far as settings other than changing some of the settings to be more film-like. Everything else was auto. I will try some manual camera settings on my next shoot. I also got a CPL to try. I hope to get some NDs for it in the future too. I brought my Zhiyun Smooth II iPhone gimbal to see what I could get with a super portable setup. I tried to go full manual in the Mavis app, so some of the shots didn’t match very well. If I went full manual on the Mavic too I think I could get them to match better. I also wanted to try a video with zero slow-motion. As much as I like the look it can be a crutch sometimes. I also had a hard time getting the colors the way I wanted, so I kinda give up and am posting it as the best I could. I really, really need to practice that more. Overall it’s just a test video of sorts. I have been flying since I got it, but just simple stuff that I post on Instagram.
The location for the shoot was fantastic. I had never been to this park before. I came upon it by chance when I went out to practice flying early one morning. The park I wanted to use had a baseball game (at 7:30 AM!) and I just wandered around looking for places to fly for like an hour. The only issue with the park is that it’s kinda far from everything. But it was so perfect for practice… very few people, good scenery, open spaces, perfect cherry blossoms.
I’ll have some more Mavic videos soon, but they’ll most likely be part of other projects. If I can, I’ll do a good beach video at the same place I did the iPhone 7 Plus anamorphic video.
Hopefully content will start flowing more regularly from now on too.
I have been gushing about the Cosmicar since I got it. I saw one image that caught my eye a year ago and it never left me, so I found it again, and discovered it was caught on the Cosmicar 75mm c-mount. I searched for other pictures and videos about the lens, and at the time there wasn’t much. In fact, I think there were only 2-3 videos shot using the lens on Youtube at the time and they weren’t great. I saw the potential, though. I showed a few samples to a photography friend of mine and asked if there were any lenses he knew of that could achieve the look. Things like the Zeiss Pancolar, the Helios, and Jupiter came up, but I already knew about those. I’m not sure, but something seemed off and magical about the Cosmicar, so I decided to get one.
Lucky me, I found a seller on ebay with a few early copies with perfect glass but had body blemishes/fading. $60 shipped to Japan. Best purchase of the year. (outside of my GH5)
I started taking photos with it and was ecstatic that it was everything I hoped it would be. Very little to no vignetting on the GH5 sensor. Shockingly sharp at f/1.4. FANTASTIC BOKEH. Makes the highlights bloom just the right neon color. Perfect. There’s some photos on my Instagramaccounts shot with it and I used it a bit in my 180fps slow motion video too. It’s a permanent part of my lens collection.
But what about Anamorphic? It’s too long to use on my 1.33x lenses. The actual body is too long to use on the Möller 32/2x. You can use it in ETC mode, but you lose some of the good parts of the edges when you do. The Isco Ultra Star fit the picture nicely. Almost no vignetting, super clean, easier to use than the Möller. Small enough to go portable. Not crazy on flare but has that perfect oval bokeh.
I shot a test of myself just to see how it would look, and we have a winner.
The only issue with the Cosmicar is it doesn’t have round aperture blades. As soon as I have the resources, I’m going to look into the possibility of doing a swap. It’s fine, as most of the good DOF shots are benefited by the full aperture.
I already had a shoot day booked with my friend Jennifer Liza, a model in the Tokyo area. She was down to try some weird lenses and I took the Cosmicar/Ultra Star combo into the city. We went to Shinjuku and Akihabara to find some good places and lights.
The only problem I had was doing any kind of scenery. A few shots in the video, especially in the beginning, have more vignetting than most and for some reason the video files fall completely apart when trying to color correct. No tripods were allowed in the Tokyo Metropolitan Government Building Tower, so I had to hand hold with a mini rig in a surprisingly crowded area.
Everything else came out great. With a little bit of work, I think this is a viable rig for a big project. I almost want to shave the front off my Ultra Star just to try to get rid of that little vignette completely, but it may just be the fact that the rear of the c-mount lens just barely works vignette free as is. Either way, this is a real-deal setup that I will keep even as I start focusing my collection down. These types of videos are helping figure out what I want to work with in the future. I have definitely found something special. Here’s to the future!
When the newest GH5 Firmware update came out, it claimed to improve the stability of the VFR. To me, in hope, that was fixing some of the issues that I had earlier with the high speed modes beyond 120fps. We did do a few 120fps shots in Tokyo Dreams and I really didn’t see what everybody was complaining about. I had a few editors not even know it was shot in HD next to the 4K footage. So, with firmware version 2.2 in hand, I set out to Maihama Skate Park in Tokyo to practice skate filming and see if I could break the 180fps mode on the GH5.
I think using the VFR mode well is to know it’s limitations and strengths. Some of the best and cleanest shots were done with a good DoF. I used the 42.5mm f/1.2 Nocticron when I could, and even tried a few shots on my beloved 75mm Cosmicar f/1.4 c-mount lens. I always had the shutter at 180 and used a variable ND until it got too dark. I saw next to no issues with the footage frame wise, but I did not try to push any of the colors in editing. All in all I think I will be doing more slow motion at 180fps and not worry about any problems that seem to keep people from using it. The next step for me is to try and rack focus while filming fast motion. It’s kinda scary, as you could easily end up with nothing in focus, instead of most things in focus.
I am still slowly learning how to film skating properly. I don’t skate, so what I can do filming-wise is limited. I’d love to learn how to be a skate filmer and get to chase on a board, but I can’t risk getting injured or breaking gear right now. Maybe soon?
I was very lucky to get some great skaters for this video. Special thanks to everybody who helped out! And I’m sorry if I filmed you and it’s not in the video. I most likely screwed up the shot somehow.
Skaters in order of appearance:
I had been thinking of ways to make use of the SLR Magic Anamorphot-50 outside of it’s basic look. I had already done some tests in DCI Cinema 4K with it, which with the Anamorphot gives you the same aspect ratio as a 2x lens in the GH5’s Anamorphic Mode. I was already trying to think of tests using 1.33x lenses for landscape and wide shots to mix with 2x shots for focused areas or people. I really wish I had access to another GH5 to do some real testing of this kinda stuff. But done right, the Anamorphot performs well.
I have a small collection of orange filters that I had been getting cheap on Yahoo auction for a year now. I had a few ideas on how to use them , and this is my first one. A lot of people complain about the strong blue flares on the Anamorphot-50 and how contrasty and out of place they can be. Well, I think I fixed that. Now they’re a nice golden color… but so is everything else. Not that I mind, I think for some projects this would work well.
The area I was filming in is one that I came across during my previous photo walk wanderings. It’s a great area and the trails remind me of the ones I grew up around in America. Nice and clean, beautiful views, quiet, and well maintained. The only issue I had was that the higher I climbed, the windier it got. Had I any other camera without excellent IBIS it may have been difficult to shoot with such a light setup.
The only disappointment from this shoot was that the Iron Glass Helios 44M is useless wide open on the Anamorphot. Even though the Anamorphic disc inside the lens brings the minimum to a f/3.5, the Lens Turbo II brought it to a f/2.5. I shot some tests in Shinjuku wide open a few days ago and they were all unusable. I think I shot most of the Golden Afternoon video at f/4 on the lens. With the Animorphic bokeh filter and the Lens Turbo, I don’t even want to think about the math to figure out what I was actually shooting at.
I didn’t have my regular M42 adapter with me, so I just shot as-is. I want to try more to see if I can get a decent image wide open. I was really hoping for that orange/blue/violet hinted image. You can still see a bit of blue/purple in a few shots. The aperture changed the colors slightly depending on how far I was stopped down. I’d love to try an amber Helios with a blue filter someday.
Shooting 400mb/s gave me a lot of information to work with. I did play around with a few shots to see how many colors I could bring back, but that’s for another test. When shooting raw photos, I could get about 80% of the original colors back.
More fun projects coming soon!
Specs: Panasonic GH5, C4K 24fps 400mb/s ALL-I M42 Lens Turbo II Iron Glass Modified Helios 44-M 58mm Kenko YA 3 orange filter
Filmed at Konandaisaezurinooka Park in Yokohama, Japan.
I use to watch a lot of Youtube. Use to, as in I have been so busy lately that I am really far behind and had to unsub form a few channels just to keep the backlog down. I found Luis from one of the many skate channels I watch and noticed he was coming to Japan. Checked out his videos, really liked them, and hit him up on instagram to see if he needed any help filming here.
He responded and we hit it off well. We started planning some shoots and I met him at his first big event in Japan at Mortar Skate Shop.
This shoot had some issues. I am still getting use to the camera/gimbal combo and it’s limitations. I won’t get into the details, but I wish I had filmed it differently. It was a lesson learned and he was still happy with the overall result. It’s still a great little edit.
We continued working together, and eventually planned a music video shoot for his friend Jerell (coming soon). We have already shot it, but I have been too busy to edit it. I can’t wait to get that project out there.
The big project that we’ve been doing is a short film called “Tokyo Dreams”. I won’t give too much info on it now, but we have already filmed HOURS of footage and still have a bit to go. It’s one of the biggest projects I have done in years and the video is looking to be some of the best stuff I have ever shot. There’s a little preview in his most recent vlog.
There is also an edit I did when we went to the Tokyo Motor Show. This is usually a dead time of the year for me and I never get to go, so it was a blast, even if it was only for a few hours. I’m a car nut, so it was a visual fun fest. The only issue I had was the crazy and drastic changes in lighting EVERYWHERE. Every booth and stage had a completely different lighting setup, making it hard to transition quickly. I used the Beholder DS2A gimbal with the D2S arms and I got just as many stares as the cars. It did a fantastic job getting shots over the crowd and nice, steady moves. I’d like to try a wider lens at the next car show I film. I need that Olympus 8mm f/1.8… I absolutely love some of the shots I got and they are totally going in my reel. 4k 60fps on a gimbal with the GH5 truly is a force to be reckoned with.
Then last, for now, is a short skit we did called “INTERVENTION”.
VLOG with the short as the intro:
This is how you should do it. Get together with a bunch of friends and make something stupid for fun. We filmed this thing in about 3 hours, as I had to make last train and Jerell had to fly out in the morning. Because I was juggling camera, direction, lighting, and audio, it’s not perfect. But it was crazy fun to try to make something like this so quickly. Everybody did a great job, given the circumstances. Poor Jerell was tackled down like 6 times and was covered with orange juice by the end. We got lucky with the location working as well as it did, as the first one we tried had way too much traffic.
We filmed on the GH5 with a Super Takumar 50mm f/1.4 lens and my Möller 32/2x Anamorphic. (The same setup as this post.) For the chase stuff I was riding a bicycle and with the rig on my Beholder DS2A. This was also my first time trying the anamorphic mode 400MB/s ALL-I mode. It destroyed my 64 GB card capacity halfway into filming and I had to dump it onto my computer. But at least I know that spending big bucks on a superfast SD card was worth it. We only shot like 30 minutes of video, but the project was over 70 GB. Crazy stuff.
To all the new people coming from Luis’s channel, Hi! I am JSD. I make things. Right now I am focusing on video, but I have a lot more to share with the world. Look forward to it!
Camera: Panasonic GH5, 60fps 4K, ISO 1600 mostly, SS 100 always. V-LOG, Firmware 2.0 with Anamorphic IS and IS lock.
Lens: Pentax Super Takumar 50mm 1.4, used at f/1.4 and f/2.0
Anamorphic: Möller 32/2x
0.5+ and 3.0+ diopters.
Filmed near Yokohama Station, Japan.
This ended up being a pretty epic combination. I’ve had the Beholder DS2A for a few weeks now, but I’ve been dealing with weather, flaky people, and health issues that have kept me from making this video. I hope to have a full review of the DS2A soon, but I have to focus on what I can for now.
First off, while the Möller and the Beholder make this video what it is, the D2S 5th axis arms and the new GH5 firmware make it epic. As for the D2S arms, I am still learning how to tweak them for various situations. It might not be down to calibration as much as it is preference and walking situation. I’ll try to have more on this when I do a full review. Overall, they DO make a big enough difference that makes them worth the money in my mind.
The new firmware brings us video IS lock. This is HUGE for gimbal and steadycam work. The difference is obvious, especially when using Dual IS lenses. I can actually use the Nocticron with this rig, but only with ETC turned on. I stuck with the 50mm so I could get a wider image. Also, it seems the 2.0 anamorphic IBIS makes a difference as well. I should do a comparison.
That said, this was shot using a 50mm lens (33mm HFOV with the anamorphic) and the walking shots are so damn smooth. I have never really even tried any gimbal work on something that tight or a lens setup this big. Now, to balance and support it properly I had to make a simple support rig. It’s made from that simple aluminum flash bar that is for sale everywhere and part of a telescope lens clamp to support the end. Using a washer, I got it nice and flat along the rig.
The only unfortunate result of this is that it makes the camera and lens sit a bit high. While I can get it perfectly balanced, occasionally sharp movements will cause some vertical wobble. I’m pretty sure I could get rid of this with some PID and settings tweaks, but I’m very happy with the base gimbal settings. As you can see in the photo, the angled motor arm makes this rig possible. I don’t think I could do the same setup on the non-angled DS2. It does make it a bit weird to balance, though. I’m still getting use to it. Balancing overall was super easy. When I added diopters to the front I could re-balance the rig in less than a minute. I did use Warp Stabilizer on a few wide shots, but I doubt you’ll be able to tell which ones.
Because of the difficulty of the rig, I decided to find a sweet spot and just stick with it. Really pushing that 1600 ISO on some of these, but It doesn’t bother me too much for night video. It’s mostly shot at f/1.4, but I think some of the super bright crowd shots are at f/2.0. The lens and the anamorphic were kept at infinity and diopters were added, except for two shots where I double focused to get beyond what the 0.5+ Tamron could reach. It wasn’t too bad. The bokeh in this video is superb, the flares hit just right, colors are mostly good. I am still learning how to deal with V-LOG, but you gotta take what you can get with this setup. Shooting at night left me locked at a shutter speed of 100 to prevent flicker. I think I want to invest in some light ND filters for night video eventually.
I need to super thank Matthew (rhyminggaijin) and Kahesi for helping me with this shoot. They did a great job and I’ll most likely work with them again in the future. (Their links are below) I’m not sure why, but I’ve had a REALLY hard time getting people for my videos. Either people are too shy, flake out, or just never get back to me. It’s really hindering my production schedule. I’m getting tired of working around it.
Lastly, I ask for your patience as I have been dealing with some health issues this year that are the real reason for the lack of regular updates. I have so much on the shelf and so many projects that I’ve had to outright cancel. After this shoot I have been really struggling to get through the day. I’m hoping that my most recent hospital visit will be the start of getting this cleared up. I have so much I want to do…
ANYWAY! I was pretty happy with this video overall. I want to do more and eventually clean it up to a more professional look, or at least as close as this rig can get. Look forward to more!
Becoming impatient waiting for Panasonic to release the firmware update with full resolution Anamorphic mode, I decided to take Friday off and try to get some good shots around Yokohama using the 6K Photo mode. It didn’t end up going as planned, but I decided to upload a few shots anyway.
In order, the shots were filmed at Yamashita Park, Osanbashi Pier, the Landmark Tower Sky Garden Observatory, and Ishikawacho Chinatown.
As luck would have it, it ended up being one of the hottest, or the hottest days of the summer. It made it hard to move around, focus (mind and lens), and it was really hazy overall. Not ideal conditions when trying to get your best shots. I think many of them came out great, but double focusing the Ultra Star got tedious when every shot was so different. I had issues with vignetting that I couldn’t see because it was so bright out. I wanted a good variety of shots, but I also knew I couldn’t do a long video. 8K is a pain in the ass to render and the file sizes are huge.
I kept my gear light, using a video tripod, rails, and external mic. I had originally planned to do 5.1 surround audio, but my mic setup failed for whatever reason. I apologize for the on camera audio. I was filming with the GH5, the Panasonic 45-175mm f/4-5.6 lens, and the Chinatown shots were done with the Panasonic Leica 42.5mm f/1.2. Most of the early shots were done with a variable ND, and the shots inside the Landmark Tower observatory were with a CPL. Any landscape shots were done at f/8, closeups at f/4, and all night shots were done at whatever f-stop to keep the shutter speed at 50, about f/2.0-3. I used 1+ and 3+ diopters for close shots.
Yamashita Park had lots of great places to film. I will definitely go back when I have the chance. And yes, All Star by Smash Mouth suddenly started playing while filming. They also played I Try by Macy Gray, making me think that the park’s music CD was from 1999.
Osanbashi Pier apparently shakes just enough to not be compensated by Dual IS. It was constant the entire shoot but I didn’t notice until I got home to check the shots. After Effects Warp Stabilizer did a good job eliminating it, but had I known I would have done the shots handheld.
Landmark Tower’s Sky Garden was great. It cost 1,000 yen just to enter, but they had no issues with me using a tripod. (Many Japanese tourist sites don’t allow them) The glass reflection, however, was really difficult to deal with, even with a CPL. I couldn’t get the lens close enough to the glass to eliminate it, and the glass is so thick/layered that even then there were still reflections. Some of the shots I took with my iPhone right up against the glass had reflections.
The shots in Chinatown came out great. I would have filmed more but I was already super tired by that point. I also had limitations, as if I wasn’t careful I got heavy vignetting with the Isco Ultra Star and the 42.5mm lens. I need a bigger variable ND if I’m going to use that setup. I tried to film a guy making candy, but his lights were so bright that I had to stop down to f/5.0, and it gave ugly dark corners.
The next challenge was working with the damn H.265 files. I repackaged them in Handbrake (who decided to change the dimentions on a few videos for no reason), and they worked OK in Adobe Premier. I have a pretty fast computer that can handle 4K stuff with zero issues. But it was like I was in 2008 with HD files on a 2006 computer. Press space bar, wait 5 seconds, it plays. The edit took far longer than it should have. And that was after rendering all the shots at 1/8 resolution. The rest was no-nonsense, I imported it into After Effects for color correction (something I am still not good at) and then it came time to render.
After researching if there was a better way to render 8K video and failing in all attempts, I decided to try just slightly reduced settings from my early experiment that I rendered using GoPro Cineform and just hoped the file would be under 128 GB.
After 3 hours of rendering, I was left with a 3 minute and 19 second, 42 GB large, 9984×3744 sized video. I’m listing it as 8K, as Youtube will only support up to 8K right now.
Overall, I guess I’m happy with it. I think the shots could be cleaner. I think if I brought more gear and my square ND set I could have got better overall compositions. Double focusing is not an ideal process for getting perfect shots on the fly, and some of them are not as clean as I’d like. When Panasonic offers the full resolution 6K Anamorphic mode, hopefully it won’t be in that god-awful H.265 format. Until then, I think I’m done with the 6K Photo mode.
I need to get more hard drive space. This is going to be a data nightmare year.