[Kyle Blackwell]

Thanks for all the input. I think I’ll keep an eye on the GH5 as more info and tests come out, but for now stick with / lean towards the C100.

[Kyle Blackwell]

Thanks for the helpful info. So as far as budgeting, the C100 has already been budgeted for. However, if the GH5 is cheaper, that isnt a problem. I guess what I’m trying to figure out is what makes the C100 almost double the cost of the GH5? Comparing specs, which admittedly I’m not great at, it looks like the GH5 is alot better with C100 only having the built in XLR cables/ND filters going for it. I feel like I’m missing something. Having a true cinema camera is nice, but if the GH5 is better and can do more for half the price, why would you buy the C100? Sorry if I’m all over the place.

[Kyle Blackwell]

Thanks for all the feed back everyone. Headset mic seems like where I am going to start looking, and if I can’t swing that, going to try and push for a different location. Thanks again for all the advice.

[Kyle Blackwell]

Thanks for the advice.

[Kyle Blackwell]

The layout of the area is something along the lines of:
A: Muslin back dop
B: Insulated wall
C: Large metal mesh racks / Open to floor
D: Open to floor
X: Talent (Behind a waist high table)
V: Camera

—-B——
|
|
A X V D
|
|
—–C—–

All the noise is coming from the direction of C and D, and the ceiling of the building is fairly high, 30ish ft. We cant really put up any walls since this location is hopefully “temporary”, and will only use it for 6 months or so. Thanks again for the help thus far.

[Kyle Blackwell]

Thanks for the advice. So, even if I went with a shotgun mic and had it pointed at the talent / away from the production floor. I would still pick up background / ambient noise despite the mic having such a narrow pattern?

[Kyle Blackwell]

I am using lighting. I will have to see if the camera shop has a mark ii to rent, and will try that. Thanks!

[Kyle Blackwell]

As far as ISO levels, I started out by stay to the same levels you are using, but the more tests I did, the more I noticed the noise was showing up no matter the level. I even went as far as making a chart of F-stops and ISO levels and just taking 5 sec clips at every combination of them. As far as work flow goes, I usually just import the footage into FCP (Log and Transfer), which it then converts it to pro res 422. However, The noise is bad enough that I can see it even on the DSLRs LCD screen, even at low levels of ISO / f-sop. I have also tried pulling the footage directly from the card and dropping it into After Effects.

[Kyle Blackwell]

forgot to add in; should I keep using Cinestyle, switch to standard, or something else? Thanks again.

[Kyle Blackwell]

Thanks a ton for all the info. I’ll probably try and go with the C100 then. Thanks again for al the help!