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GEAR FOR SALE

Post classified ads for your camera gear and filmmaking related kit!

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  1. Panasonic G7

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
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EOSHD Pro LOG for Sony cameras
EOSHD 5D Mark III 3.5K RAW Shooter's Guide


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    • To answer your first question, I wasn't able to run Fuji H265 files on my laptop without transcoding.  For the BMPCC4K, I can smoothly play and edit BRAW files on my laptop.  The only problem I've had with it is that my video card is only 2GB so I sometimes get Out of GPU memory error messages in Resolve.
    • Go with the GH5. Nothing against the P4K, it’s a great camera but it will require more of a learning curve and more to get her going. With the GH5 you can be up and shooting right out of the box. I think for what you’re looking for, you’ll be grateful to have the IBIS. And the P4K isn’t going anywhere. In 6 months to a year, you can probably get one used for around a thousand or less if you want more of a cinema camera than the GH5.
    • Cheers  @mercer   We had the xeens in pl mount and samyangs in ef... I believe we had a matched set for both: 14, 24, 35, 50, 85 and 135? Two Ursa Mini 4.6k's PL & EF. In terms of build quality the xeens are far superior; easier for focusing as well with no play in PL mount. I believe that if you can get a really good set of samyangs, they match really well in terms of sharpness and character etc. The xeens are ever slightly warmer and I would assume there is less variance in quality control.. (24mm especially).   I love the 85 and 135mm lenses especially, and found little difference between the samyang and xeen versions. In terms of image quality. I mentioned before that the 24mm samyang has bad quality control and our version struggled below a t5.6 and had poor flare control.  For me, in terms of overall image quality the xeens have better quality control and maybe slightly different coatings? I just wish they released a 28mm; it is my favourite focal length for most scenarios on super 35/apsc.  (Sorry for blabbering on)    
    • Onr question about.codec.Are.files produced easy to work with better han those h265 from fuji for example that require very performint pc?also would like to know if i can get ready good footage may be with lut not being that good (yet) in grading?
    • @Kisaha another consideration are the Zeiss Classics... they used the same glass in the ZF and ZE versions as they do in the CP.2. With a Cine mod from Duclos or Simmod, you’ll have perfectly usable cinema lenses with that Zeiss look. You can easily get a couple primes, in your favorite focal lengths for around the same money as the Samyangs. Another option, which may make the most sense, since you’re going with the Olympus 12-100, is to go with native Olympus primes. The 17mm 1.8 is a glorious little lens and that manual focus clutch is like using a proper focus ring. Now if you’re looking at the Samyang lenses because of their Cine Lens characteristics... declicked aperture and lens gears... then why not buy the 85mm used and see how you get along with it and then build a set of individual primes as you need them. I think the problem with the Samyang lenses is quality control... so if you buy the kit and the 24mm is wonky, do you have to return the whole kit? As far as IQ goes, I found this video from the Samyang 24mm shot on an FS7. I think it’s a beautiful image. I already posted it in the lens section, so sorry for the repost if you’ve already seen it.  So basically, I think you have lots of options and I think that these lenses are as relevant as any lens. I mean, a lot of DPs are using Nikkor lenses from the 60s, so if a 50 year old lens can still be relevant, I cannot believe that a 7 year old lens wouldn’t be.  @AlexTrinder96 nice work... which Xeens did you use and how do you like them? Also what camera were those shot with?
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