If you wish to share any footage acquired with JVC LS-300 please post it below.

I'll start off with an event video. I used my LS300 for the judging panel footage (Sigma 24-70 f2.8) and handheld at the ceremony (Panasonic 12-35 & 35-100 f2.8)

The other cameras at the ceremony were an EX1 and an a7s.

https://youtu.be/9I_RMmJH4fM

Here's a Pharma corporate example.

The first interview (Edmundo) was filmed by the client in the US, but majority of it was filmed in the UK on the LS300, with an a7s as second camera on the interviews.

https://youtu.be/lrjdB98P5z4

Looks very nice Duncan, in your certara video, am I guessing right that the bit wider shots are ls300 and more closeup a7s? Is it difficult to match both camera's?

I have posted this one already in another category but will add it here as well as weddingvideo example
some technobabble: Everything up to 03:32 is shot with a 12-35mm f2.8 panasonic lens, after that a 15mm f1.7 was used and a 42,5mm f1.7, both from panasonic as well. Everything was shot in HD because I wanted to be able to zoom with my prime lenses.

https://vimeo.com/157316466

Noa. That is great work.

I loved the dancing Granny, and the boy being hugged by his 'uncle' outside the church.

You seem to have been completely unobtrusive and caught some wonderful moments that no doubt the bride and groom would have otherwise missed. I used to make a few wedding videos and aimed for exactly this style. Surprisingly I found it took ages to edit as it's not all about endless fluffy shots of dresses and shoes, cut to a pop track. It takes ages to get a solid balance to atmos, detail and sync.

It might be considered a documentary style piece rather than the typical DSLR wedding video. Those guys would have missed so many of the best bits of the day, spending so long rebalancing their gimbal, and trying to remember which batteries fit what on their 20kg shoulder rig.

Looks very nice Duncan, in your certara video, am I guessing right that the bit wider shots are ls300 and more closeup a7s? Is it difficult to match both camera's?

Yes the Sony was the closeup side angle.
I didn't edit that video.

We have very little time to shot the B-Roll cutaways so we needed a second angle on the interviews to cover some of the sync edits.

Colour balancing to the a7s is always difficult.

I thought I recognized the ls300 :) about the weddingvideo, almost everything is shot handheld, just a few shots in the church where on a tripod and I was going for a documentary style. I made a support attached to my vest so that I don't need to carry the weight of the ls300 in my hands, worked great for an entire day. Some minor issues aside I enjoyed working with the camera, love the image I get out of it.

Here is another one which was a personal project, I just had the camera for a few days and this was just a test to experiment with the autofocus and some other features.

"luchtfabriek" shot with the JVC GY-LS300 on Vimeo

Here's a Pharma corporate example.

The first interview (Edmundo) was filmed by the client in the US, but majority of it was filmed in the UK on the LS300, with an a7s as second camera on the interviews.


Looks good Duncan, be curious to know your Camera Process settings, I'm still trying to find a decent balanced setting on mine, for standard 709 stuff

I was filmed using the out of the box setting, except for the blacks being set up to 0.
I think the default is a negative number.

This was pre histogram firmware, and filmed in a rush.

Here is another jvc gy ls300 video that I shot today in jlog. I actually only corrected shadows and highlights, nothing else, kinda like the look without any other adjustment. Shot and edited in 4k with vsm set to 86% (4k), used the 12-35mm Panasonic lens and a polarizer filter. With that said, where are those other ls300 videos? :)
edit: not sure why that is but I have buffer issues with the embedded video on this site but not when I look at the video on the vimeo page.

borgloon on the jvc gy ls300 on Vimeo

Love this video, Noa - great work! I really like the look, and especially the "perspective" in some of the shots. Plus the way the shots are framed, such as under a bridge, and it looks like through a bridge railing. The sound is very well done also.

Unfortunately, all I have to offer so far (in 2 weeks of mostly miserable New England weather since I purchased the camera) is a static shot of a machine process in a bottle making facility for a client - not very exciting. Hopefully I will get a chance to use the LS300 for something a bit more creative soon.

Ive only had it for a week or two, on loan from JVC.
So Ive mostly done tests.

This one is the first time I try it out.
Didnt have the Metabones adapter so my EF lenses where locked wide open and no stabilization.
But if you ask me its totally usable up to roughly 50mm without IS (I dont mind handheld looking handheld).

Unfortunately I was lazy and brought my light tripod when the wind really picked up. So lots of vibrations.

4K Video Test - JVC GY-LS300 - s35 + m4/3 = Win? - YouTube

Next one was a quick run with the Metabones to test IS and AF with EF lenses.
A pretty much never use AF but was curious. It was much better than I expected but still not my thing, I will stick to manual. But the IS was sweet.
The 35mm f2.0 was very noisy, the 24-105mm was pretty quiet.

JVC GY-LS300 - Auto Focus and IS test with Canon EF Lenses - YouTube

So far I like it very much, we are debating getting it at work and Ive already ordered one for myself to have at home and for freelance.

The sound is very well done also.

Sound was 90% from a SFX.Sony sound dvd :) so almost nothing you hear is recorded on location, only the passing bike at 02:15 was added from the internal mic, I didn't add the shotgun for this shoot as I did not plan on using much of the recorded sound anyway.

the 24-105mm was pretty quiet.

Not sure if this lens covers the entire sensor, if so then it's has some very usable focal lengths. I only find f4.0 too slow, especially on this camera as it's not so clean at higher iso's so you need faster glass, that's why f2.8 is the slowest lens I would use on it.

Yes the 24-105 covers the sensor, its designed for full frame.
Imo f2.8 is only for lowlight and sdof. The aperture I use most of the time is around f4-5.6.
The only issue I have with the lens is its weight. Im not so confident in the strength of the mount.

Besides, when I need a big aperture I have f0.95 lenses that cover the sensor :)

Imo f2.8 is only for lowlight and sdof. The aperture I use most of the time is around f4-5.6.

That is not the main reason why I don't like f4.0 or slower lenses. Not many reviewers talk about this but this is not a good low light camera, in particular the noise pattern can get very ugly at 3200 iso. This iso is something you would try to avoid using anyway but with a f4.0 lens you might have to go there sooner then expected.

But thats what I said. I use f2.8 for lowlight and sdof :)

That's not what I said, I said it is to avoid shooting at higher iso's because the noise is so ugly. It's obvious you use faster glass for shooting in low light and have a shallower dof, only with most current dslr's or larger sensor camera's that is not much of an issue, with the jvc it is. F4.0 is just a very limiting f-stop for the jvc and you have to switch to a faster lens sooner then expected, not because you are shooting in a lower light environment or because you want a shallower dof but because the noise will ruin your shots. Eventhough there is no comparison but just to make a point, with a a7s you could shoot an entire wedding with a f4.0 lens, with the jvc you have to switch to a f2.0 and faster lens as soon as you arrive at the venue and if it's a candle light only venue you are even better of using a GH4.

Ok it seems we are derailing the thread so to sum up.
Yes I know, in lower light you use a bigger aperture such as f2.8 to avoid raising the ISO. Thats what both of us have said all along. No need to further explain the concept of exposure.

You still don't understand what I am saying and it has nothing to do with explaining exposure, you said "Imo f2.8 is only for lowlight and sdof." while I say you need faster glass on the jvc to stay clear from high iso's because it's such a noisy camera. Something that for whatever reason is not mentioned by anyone who is reviewing the camera, maybe JVC is paying them to say otherwise, I don't know, but it's the noisiest camera I have used since my t2i. It's not that the camera is not good, I like it a lot, but whenever I can I will put on the fastest glass I have and it's not for lowlight or sdof purposes.

You still don't understand what I am saying and it has nothing to do with explaining exposure, you said "Imo f2.8 is only for lowlight and sdof." while I say you need faster glass on the jvc to stay clear from high iso's because it's such a noisy camera. Something that for whatever reason is not mentioned by anyone who is reviewing the camera, maybe JVC is paying them to say otherwise, I don't know, but it's the noisiest camera I have used since my t2i. It's not that the camera is not good, I like it a lot, but whenever I can I will put on the fastest glass I have and it's not for lowlight or sdof purposes.

I'm wandering in to this conversation like a child who wanders into a movie and wants... sorry lost my train of thought.

But yes, my experience is that this camera was surprisingly noisy but in a very odd, unpredictable way.

I just posted my thoughts on it near the bottom of my chroma keying testing here:
https://medium.com/@krispii_p/jvc-gy-ls300-part-1-the-green-elephant-in-the-room-79ea5f1e5f61#.9h7diaxat
(it's shamefully long)

I'm starting to think some of it may be spectrum related. Or perhaps we got bad sensors. Mine, though picked up only a couple of days ago, had firmware 1.02 on it, but I don't really know what I'm talking about there other than I wonder if it was from an early production run.

What I do know is that I mostly shoot with a nice enough new-generation Nikon 2.8 17-55 lens that I've used everywhere and this camera displays odd mid-tone noise and some fixed-pattern noise even at very modest gain levels. No gain even!

However my caveat is that every bit of my shooting thus far has been under very specific fluorescent lighting, which gives me pause, because, like you, I have read nothing but comments about the clean images.

I wonder if there isn't something else in these findings to explore - thought I fear they may simple end up as anecdotes since I don't really have time to test test test.

I might take it outside tomorrow and torture test it in the snow briefly. Because, yeah, that's right sometimes it snows in April. :(

You still don't understand what I am saying and it has nothing to do with explaining exposure....

For the love of god, yes I know and Ive said it all along, now please stop repeating :)
ISO = Noise
Wide Aperture = More light
More light = Less ISO

What I do know is that I mostly shoot with a nice enough new-generation Nikon 2.8 17-55 lens that I've used everywhere and this camera displays odd mid-tone noise and some fixed-pattern noise even at very modest gain levels. No gain even!

This is my finding as well. Just like you need to expose S-Log a bit hot for the shadows it seems the Mids are the J-Logs problem.
In daylight all is fine for me, in the dark everything is also fine.
The noise gets problematic at low contrast and somewhat under exposed Mids when grading.

The solutions so far has been,
Cine profile in those situations
Less grading
Expose down
Expose up

Ive uploaded some clips to youtube containing some of the FPN. They have been peeped by a couple of thousand viewers and they haven't commented on it since I took care of it with crushing the Mids in post.
IMO its just a matter of getting to know the camera. Its not Raw and only 8-bit so one cant get it all in terms of exposure, some sacrifices needs to be made. If the Mids are important but are being under exposed on a certain shot, blow the highlight.
Or light the scene.

But yes, my experience is that this camera was surprisingly noisy but in a very odd, unpredictable way.

I am experiencing the same thing, I tested yesterday because it was discussed here and put it against my gh4 so I could have some comparison footage and to my surprise the jvc was cleaner then the gh4! But in Februari this year I shot a wedding with it and got some very nasty noise in the morning at the hairdresser with indoor light, much uglier then I ever had with my GH4 and that was at 3200 iso and I could clearly see it in my viewfinder as well while shooting. The remaining part of the day however my footage looks very clean.

I also saw this kind of noise when I first received my jvc and was testshooting during the day in my house, when I pointed the camera towards a window and exposed for that window I got some very obvious and ugly noise indoors, the noise reminded me of my canon 550d, it looked that bad and again nothing like I ever saw on my GH4. (I each time shot with the gamma set to itu709.)

I am going to see if I can replicate the problem the following days. I know it's there, I just need to figure under which conditions it roars it's ugly head. :)

Speaking of noise.

Impossible Shot Shootout/Review-- GH2, GH4, em5 mkII, JVC LS 300, Sony FS 5 - YouTube

For the love of god, yes I know and Ive said it all along, now please stop repeating :)
ISO = Noise
Wide Aperture = More light
More light = Less ISO



This is my finding as well. Just like you need to expose S-Log a bit hot for the shadows it seems the Mids are the J-Logs problem.
In daylight all is fine for me, in the dark everything is also fine.
The noise gets problematic at low contrast and somewhat under exposed Mids when grading.

The solutions so far has been,
Cine profile in those situations
Less grading
Expose down
Expose up

Ive uploaded some clips to youtube containing some of the FPN. They have been peeped by a couple of thousand viewers and they haven't commented on it since I took care of it with crushing the Mids in post.
IMO its just a matter of getting to know the camera. Its not Raw and only 8-bit so one cant get it all in terms of exposure, some sacrifices needs to be made. If the Mids are important but are being under exposed on a certain shot, blow the highlight.
Or light the scene.

Dude! Thanks for that.

In my case I was shooting Rec701 because chroma key on an 8-bit compressed codec often negates the advantages of log, but still - this is a nice heads up, thanks for sharing in such detail.

As for the video posted - also thanks. I think there's a lot to like in this camera for the $4K CDN it set us back. I mean, the list of things to like is way longer than that to dislike and my observations about noise are just that, observations. It's still a highly useful too; with lots packed in.

Attached is a shot of the ls300 at 6400iso, I know it's much underexposed but this is just to show what kind of noise I saw in the shadows on a shot taken indoor with a window in the frame and part of a indoor wall where I exposed for the window.
Thing is, I"m not getting the same problem now so have no idea what has caused it before, so unless I am able to replicate it during any of my following shoots I have to reconsider my thoughts on the noise level of this camera. I"ll just have to wait and see. Maybe the camera just needed some warming up. :)

If you look at 04:00, at the cow in this video.
I ETTR shot that clip, and in the ungraded footage there is no silhouette. The entire cow is visible, every hair.
It looks like a 14 stop DR image.

But when graded it all turned super ugly and FPN.
So I crushed it down to a more reasonable level. I would say with a contrast more representing what the scene looked like IRL. And more in the 12stop region.

Usable imo.

5 Reasons to Buy a JVC LS300 - YouTube

Here is a some what untouched example,

http://forumbilder.no/images/2016/04/08/cow.jpg (http://forumbilder.no/image/70f)

I've had a couple of FPN issues as well, less than with some other cameras - and certainly not as distressing as, say, the moire on Black Magic footage. But when that noise does happen in the shadows, it is distracting enough to draw the eye... not good. The suggestions for avoiding it above are good ones for - as I said - any of the myriad of large sensor cameras that do this... however...

I once had a similar (although not as bad) issue with my Canon C100... because I forgot to black balance after changing lenses. Canon advises doing that, not because of a difference in the lenses, but because it can forget what black is. Unfortunately the LS300 doesn't have a black balance function (I'm told it does black balance automatically when booted, but I haven't seen proof of that).

I did some experiments with Cine Gamma ysterday and it is much tougher in low contrast situations imo. The sacrifice is some highligt roll of.

Cant wait to try it more but dont have the camera for another week.

We have another paying gig with it tomorrow. Will be uncontrolled, most likely outdoors with a very wide range - so a good chance to check JLOG out in anger.

Here's an edit of the commercial I shot in J-Log a few weeks ago:
https://youtu.be/VR5VMjvDifs

A lot of exteriors in strong sunlight.
It worked well I reckon.

Finally shot a wedding with the LS300 (and a GH4 second camera). Used a Nikon 18-200 VR lens with Metabones adapter for the ceremony, and a Olympus 12-40 lens for the reception. I was surprised at how quickly I adjusted to shooting with this camera, after using a Sony EX1R for the last 4 years as my wedding camera. The only thing that i missed was the EX1R's steady shot.

https://youtu.be/NDuqDEwZ00g

I should have mentioned that this wedding was shot in standard HD, not 4K. The prime zoom feature is terrific for this type of work.

Nice job! Some of the cuts and things I liked was:
the transition at 1:39 becaue it was a bit longer than the usual transition and it kinda represented the major change from the wedding kiss to, what?, the after life (i.e., being married),
the 1:44 bar exit (was this planned?) they were really stoked!,
how you handled the tough exposure backlight situation with the windows at 1:57,
and the segway cut with the bride’s spin at 2:10 because it provided a nice transition into party time.

It’s good to hear you like your new LS300. I think the option to use prime lenses on a camcorder is a real plus.
Nice job and thanks for sharing.

I also thought the color looks nice, that is what I like about the ls300 is that the color is well balanced, I saw that you where shooting in a monopod, If I need to move around I prefer to only use stabilized lenses like the 12-35mmm f2.8. I have tried to shoot handheld with a 15mm f1.7 but even at that wider angle I saw jitter in my footage, a stabilized lens is not a luxury on this camera if you are not on a tripod.

Thank you John and Noa for your kind words and insights. Yeah, I love working at that venue (it's only about 15 minutes from my home) but white balance can be difficult in the ballroom, as there are 3 different color temperatures to deal with depending on where you are in the room. The LS300 does handle color balance very nicely though, as Noa pointed out. Good point about using a stabilized lens too. For a wedding I shot last month I used the Panasonic 12-35 lens for the reception instead of the Olympus 12-40, which has no stabilization. My old Sony EX1R had a wonderful steady shot feature that I miss.

I do like using a monopod (Manfrotto 561B). It's easier to move quickly to another spot compared to a tripod. I also have an old "Mighty Wondercam" Mini Rover camera grip, with quick release attachment, that makes going handheld easier and more stable.

Here's a couple more jobs I shot on the LS300:

Redfern - 2015 on Vimeo
https://youtu.be/HxnX0lDmQqc
https://youtu.be/A9ntqa7t-BU

If I need to move around I prefer to only use stabilized lenses like the 12-35mmm f2.8. I have tried to shoot handheld with a 15mm f1.7 but even at that wider angle I saw jitter in my footage, a stabilized lens is not a luxury on this camera if you are not on a tripod.
Aside from the Lumix 12-35mm and 35-100mm f2.8 zooms, has anyone else found an OIS lens to work compatibly with the LS300? I've tried a wide variety of OIS Lumix lenses and the LS300 failed to recognize them, in each case the OIS menu option remains grayed-out.

I usually don't do this sh__, but this is 70-80% LS300 and the rest Pocket Camera...


Changing the Story of Salinas on Vimeo

I usually don't do this sh__
I saw in another post that you also said you are reluctantly sharing this, why? I think it's a great example of what the jvc is capable off.

A shoot I did in July using my 300, using 709 gamma. Some over exposure on a few shots...should have shot J-Log for the bright sun scenes.

Jazz Fest 2016 (3:38 min edit) on Vimeo

I resist uploading videos for a lot of reasons, mainly because it's so often about ego. Also my chosen style is old-school documentary, and that's not always the best example of a camera's capabilities.

The reason I uploaded this one is that there are several scenes in it directly intercut with the Pocket Camera. Over on the BM site participants are often exclaiming the quality of the color science of that camera, comparing it to the Alexa... and I agree, it's why I have two of them.

But I think it's pretty amazing that the neglected LS300 can stand up in a fair fight.

this is 70-80% LS300 and the rest Pocket Camera...

Was the ls300 part entirely shot in jlog? and if you shoot with your pocket cam do you use prores 422 with dynamic range set to film or video? I have the pocket cam too but have not experimented with matching it with the ls300.

Noa, yeah I only shoot J-Log now... with the Pockets I shoot Film Mode either raw or mostly ProRes HQ. Some of the footage in the film was raw (very little). For example, the shop footage is about 55% Pocket ProRes, 5% raw and 40% JVC, the rest of the film is mostly JVC. There are two angles intercut in the auto shop between the JVC and Pocket - but I'm not telling which... heh, heh...

BTW, about LUTs etc. This film was done quickly (I only had 2 days for the CC) so the grade suffered in several places. I may redo it if I get time - problem is the close-captioning has already been done.

But, anyway, I have a preset in FCPX Color for the Pocket and another for the JVC when using FilmConvert and when not... That's how this project was finished, with a little tweaking here and there.

This has just been uploaded: https://youtu.be/HgOW8ZXjzQU
It's a preview of a 25 minute programme.

I shot most of it with my Samyang Cine Primes, except the jib shots which were the Panasonic 12-35.

Also I lit/shot the 4x UK testimonials on this: https://youtu.be/fQ63AinNN20
The other elements are filmed in L.A.

I use Aputure LED lighting these days.
Looking forward to daylight/variable versions of their COB heads.

Really nice work, Duncan. Well done!

THE CHASE - YouTube

JVC GY-LS300 Camcorder Used To Shoot Car Chase Film (http://www.sportsvideo.org/2017/02/10/jvc-gy-ls300-camcorder-used-to-shoot-car-chase-film/)