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These are not hard rules but I have some suggestions for making the place easier to read and less cluttered... 1. Please don't quote an entire post or topic as the next reply directly underneath... We know you're replying to it, we don't need to see the same big post repeated 2 times in a row.... If your post is on the same page, people usually see the content you're referring to and the context. If there's a big post with 6 images for example, and you quote it in the very next reply... think about how stupid that looks to the reader. 2. Please try to avoid putting signature text in the main body of your post like "CTB Approved". Put it in the signature of your account profile. That way, it can be formatted separately (smaller, with divider) to the main post text in keeping with the forum design - easier to read for us all. 3. This is a place to discuss camera gear, filmmaking and films! If the main purpose of your account is to promote a service, product or another blog or YouTube channel, then it will be deleted. I want to see real people, with great posts like Mattias Burling, actual organic users with things to say and not a heavy bias or promotional bias towards one thing, or one brand. 4. This forum prefers people who post under their real name, rather than the name of their channel, online presence or a nickname. 5. If your topic is a question please search first before posting it, so regular visitors don't have to read the same questions every day that have already been answered before. 6. If a rumors site posts news, link to the ORIGINAL SOURCE of the news, NOT the rumors site. Save us all the bother, go direct to the source and bypass all those ads. 7. If you are selling products and services that rival EOSHD's, I will allow it only at my discretion. Charging $100 for a picture profile I don't like, that is of low quality and in direct competition with my own, is a certain ban. 8. Please be civil to myself and the mods - because we're here every day and getting heckled everyday isn't what I run this site for! It's the quickest way to get banned. 9. I am all for blunt, non-politically correct chat, banter and forthright opinions, just be respectful of each-other 10. Post good stuff that starts a discussion... leave the boring stuff to the other sites These are guidelines not the law... I will as always be casually keeping an eye out for people who flout multiple guidelines regularly as I want to maintain the quality of the community for the regulars. Cheers!

Atleast consider what you need to do the work into the equation. Your camera wasn't free when you bought it, and it would probably cost you to rent if you didn't have one. Storage and an editing pc isn't free either. Neither is travel, royalty free music, lunch, software, etc... You'd also want to charge some for future investments too. How are you going to afford, say, a new lens through work if you spend all your money working? You'll quickly find these things really add up... This they should atleast cover! If you're doing it for free you're practically throwing away your hard earned money & devaluing video work in your area, which in my opinion is totally unacceptable.

I would go for the 1D C. It's a better stills camera not just a better video camera. The low-light is better as well, compared to the 5D Mark IV. Battery life, hugely better. Weather sealing, and build quality is better. Burst rates... up to 14fps! Massive buffer. Better AF. Manual focus in video mode is the only drawback... Except it's not really. Manual focus is just fine.

The Ira Glass team use some decent but not too pricey gear to make pretty compelling radio documentaries. Here, Ira describes using the Marantz PDM661 recorder and AT8035 (and similar) shotguns for this very long running and wide-ranging show. One could quibble over audio quality at times, but there is the law of diminishing returns at play here: for a reasonably modest price you can achieve good, and often very good audio in a wide range of settings, including indoors. For a lot more money, and with a wider array of microphones you can get some incremental, and occasionally significantly better sound. But since it isn't Hollywood, does the expense-for-limited gains make sense? With a documentary, it's about the story, and some slightly imperfect sound is usually well tolerated as long as the story is good. The H4N would seem good enough for the task. For a microphone, I'd probably stick with a battery-operated shotgun like the Audio Technica AT897 or Rode equivalent. If you are likely to be in a very reverberant indoor setting, simply go somewhere else with curtains, carpets, etc. If you can't do that, spring for something like the AT4053b (hypercardioid). I'd probably go for second-sound into the recorder, rather than straight into the camera, since if the camera switches off you might miss some important audio that could otherwise be included in the final documentary albeit covered by cutaways. Use the camera's audio for sync.

I have done my share of free work. And this year I completely stopped with that, and I got 3 times more work then before. And with the money I raised, I can upgrade my toyset and invest in my own passion projects. So in this case I would use these models in my own passion project if I got one lined up, if not I would not bother until I got something going on.

Have you looked into the Panasonic FZ2500 or FZ300? The FZ2500 has a 1" sensor, built in zoom, built in NDs, shoots DCI 4K at 100mbps and 1080 at 200mbps, and 120fps slow mo for $1k. And the FZ300 shoots UHD, 1080p/60, has a smaller sensor and no NDs, but a 24x zoom with a fixed 2.8 aperture for $500. They seem similar in specs and close in price to what you're looking for.

The GH5 isn't a DSLR.. just saying

Back in the film age did you also believe all SLR manufactures should also manufacture their own film as well??

When not challenged by very high DR, I prefer Standard. But, what do I know?

#2, I'm a whore.

I can tell, most people here are camera operators. Shotgun mics work alright in very well treated rooms, or studios. If you want to spend an hour, and have the right sound blankets with you and the tripods and gear, and the space, to treat the room right, or change location in then be my guest. In any way it is much easier to use a more appropriate tool for the job. If you own just one long tele zoom, then it is ok, use a shotgun mic everywhere. I am not going to discuss Rode microphones, but the specific ones mentioned in this thread, wouldn't be on top of any of my lists. Canon dSLRs have notoriously bad mic amps. Whatever you put straight there (except some with good in built amps) wouldn't be broadcast quality. @Drew Allegre if you can rent, Sennheiser MKH 50 is one of the best, ever. Others prefer Schoeps, for me, if you do not do much post in sound, then Sennheiser can be a better bet. Reliable, very hot (signal wise, so you can avoid bad mic amps some) and tough as nails, too. For just little money you can rent one of the top 3 indoors microphone one can use, just put that on perspective with your imaging gear. Just my 2 cents.

Thanks Man, Tito is the Best

Screw the DP4. Seriously. Focus is where it’s at. So intuitive and super bright. I use it daily on my 1DC for YouTube videos and it’s dabomb.com

Hi everybody - great posts on here. Long time reader and first time poster. I wrote/directed a short film shot with the 5DmkIII+ML Raw, just in 1080p as the 4k hack wasn't available at the time. Here are some screen shots. Teaser trailer on Vimeo now and entire short will be released in about a week.

Hallo Dee Joslin, why not sell the GH5 and buy the AX700, since your preferences are clear. I think you are super duper wrong about 10bit not showing its advantage. The 8bit SLOG on Sony cams, even on FS700 without update, breaks apart easily. GH5 has awesome autofocus for photos. As a super exiting camera tool for the making of fiction films, autofocus is not even desired. This camera talks cinema. I shot this camera at 8bit 1080p REC709 and it gives astonishing results, C300 Mark I quality in a moderatley lit enviroment.

Canon C500 with 7Q, I have this best setup. The files grade perfectly. It does 12 bit 444 in 2k up to 60fps and it looks amazing. Only downside is the file size. I shot these with the above setup https://vimeo.com/228199666 https://vimeo.com/229622680 https://vimeo.com/229623629

I’ve had both of those cameras and the FZ2500 is well worth the extra money for what you get. If you don’t mind used or grey market, it can be had for well below $1000. For handheld, run and gun, no budget filmmaking, it’s one of the best cameras on the market.

Another option is to use both. Get an inexpensive shotgun (amazing what you can get for under $60, from Chinese DSLRs minis to the Rhode videomicro) and a decent lav (which you can't go cheap on). Unlike the others here, I don't do this for a living. However, I feel I can re-express some of what's being said. IF you're in a room that isn't echo-y (doesn't have bare walls), then a shotgun will work really well and is much simpler to set-up. Wiring people up is a pain and is invasive. So I'd invest in the lav, but also have a shotgun for primary or backup. Another thing not pointed out is a shotgun will pick up just enough room noise to feel really natural. The lav doesn't. The lav is also bass-y, being close to the chest and has movement noise risk, etc, as others have pointed out. Anyway, I'm always curious about this stuff too!

Maybe outside light colour not matching with man lighting.

You will still get the best HD/2K delivery quality from a 4K camera even if you never deliver in 4K. A Sony FS700 + Odyssey 7Q goes for $3-4k nowadays and can shoot great 4K 12-bit raw. And it can also do high fps for slow-mo, which may be appealing for your music video/slow movement scenes.

That's a nice video, makes me want to visit Chicago!

The GH5 is a fantastic camera, including for timelapse. While @Orangenz already answered most of your question I would add: - Smoothing Expo is not really a thing. AV mode and auto metering on Sony camera works very good though. However past a certain level of darkness the metering module is not working and you'll have to make the change manually. Personally I always lock everything in manual and change the expo manually (first shutter speed and then ISO). You can use Flicker Free which is great to correct minor flickering but for serious work there is only LRTimelapse (there is a free demo version that work with up to 400 frames, which is more than enough for most time-lapses). Otherwise you can try to set the camera in AV mode with auto ISO (and set a limit). - Two hours of battery life in time-lapse mode is not that bad actually. Turn off the screen (in the menu or close it physically) to increase the battery life. You can also reduce the brightness to the minimum. - Use a strong ND filter for daylight stuff, it makes such a big difference in quality. Pick an ND7 or ND10. I did all this video and timelapse with the GH5. Superb camera except for very high ISO stuff like astro. I usually don't like to go over ISO 1600 with it but you can compensate with long exposure.

wow, i have a new least favorite poster is this a troll? is this zach goodwin anyway in other news lookit the spooky pumpkin i carved!!! happy halloween guys!!!

Absolutely... This is honestly a serious "what would you really do?" question. It's very much NOT a "what do you think the right answer is?" sorta question. If you need money, then the answer is #2, for sure. Or, if you're a technical guy, and love playing with gear rather above all else, #2 is a perfectly fine answer.

Glad it worked!

@CanonTheBarbarian The sensor is supposedly being made by a company called Jazztower, or something similar (and somehow silly!). It is a multinational company with fabs in 2 or 3 continents, and a big percentage belongs to Panasonic, and they are having a new facility in China (for the very first time, they used to have very specialized labs/fans in America and Israel). So you can add Panasonic to the impressive companies too, even though Panasonic takes most of their sensors from Sony. Then there is JVC that owns and operate sensor manufacturing fabs (like for the JVC LS300). Fuji, that you so much admire - I do too - takes their sensors from Sony. Business wise, too much dependency from Sony, is a clear disadvantage for the other companies, but it is a completely different division under the Sony Corporation umbrella, and - supposedly - the sensor division can make a sensor under Nikon (or who ever) guideline, and the camera division will never learn. At least that is what Sony says! In anyway, sensor wise, things are quite complicated, at one point a year or two ago, Sony controlled the vast majority of sensor making in the world, now there are new players and more investments happening. All in all, this is a great camera, just waiting for the mirrorless now!

Yes. Literally twice as good as the Sony cameras in that respect.

hey it works! it's very easy and also pratical because I can save my png fix for future works! thx very so much!

Shot a 5 second clip from my office chair of the people around me. Used the D500 in HD, Nikon Flat, 50mm f1.8. Imported into FCPX, adjusted the lift, gamma, gain. Added lut. Remembered why I loved the Nikon colors of the D750. It needs almost no work and just looks great. The two people in the clip was both caucasian and a couple of shades darker. Both looked alive and kicking Now Im debating if I should trade for the d750.... but I must say. The AF on the D500.. wow.

So I guess you're right, Canon the Barbie. 5diii by a landslide. Maybe even the original 5d. Mods can kill the thread now

Danne (Magic Lantern superstar) and I have been working on a log DCP profile for Magic Lantern. At the moment, it's just for the 5D3. But if feedback is positive we will try to roll it out for all Magic Lantern cams. This profile is for use with an Adobe Camera Raw to After Effects workflow (although it may have other applications). Although other workflows may be faster - Resolve, for example - many people feel that the debayering, colour reproduction and noise control offered by ACR is unparalleled. The philosophy with this profile is to get the raw linear data into a log curve, so that blacks and whites aren't clipped and there is a relatively equal relationship between stops. Interestingly enough with this profile, and maybe it is unique in this regard, it has very accurate colour. Unlike Sony's S-Log or Panasonic's V-Log it's not necessary to correct for unusual colour reproduction. Just set a good white balance in ACR, apply a curve and colours are (almost!) bang on target. If you've never used a DCP profile before read more about it here: https://www.magiclantern.fm/forum/index.php?topic=20710.msg191757;topicseen#msg191757 Here is a ZIP file with the DCP and with two kinds of curves, one clean one with a "filmic" colour cast. You get both as a LUT and as a curve file for your convenience. DOWNLOAD: https://bitbucket.org/hyalinejim/ml-log/downloads/ ACR default: ML-Log ML-Log + curve

I was beginning to think that we need JCS to tell us whether this is some obscure AI bot at work... but then I realised there’s an issue with the “I” part...

i love my stuff! PANNYSVHS APPROVED

There's some funny info in this thread. Shotguns are perfectly fine indoors. I've used the Rode NTG4 in almost every shape and size room you can imagine. Even solid walls or window walls. The results are more than acceptable every time. If you'r shooting in a room where a shotgun simply doesn't work, then you'll be hard pressed to find any mic that will. That said, of course there are alternatives, and many are better in certain situations, but to rule them out like that is kind of silly. I film TV interviews for a living, and have used many different lavs. I will always chose a mic on a pole if the option is there. They don't take long to set up and make it near impossible for the talent's hair/necklace/zips/itches to effect the audio. Of course, that can also be avoided with mic placement, but a stand can go in the same place every time, and nail it every time. EDIT: you can also have everything set up, so the talent can come in, sit down and go, without having to be wired up first and remember not to take the mic with them on the way out. You also don't need to worry about charging extra batteries etc. because they just take power from your camera/recorder. On that note though, if you do decide to go shotgun route, maybe look at the Rode NTG2 - I know it's old, but it can run on an AA battery OR phantom power. If you use it with a battery, you can run it straight into your 5D3 and avoid having to sync anything later.

Hypercardioid condensers are neat for this application, but also very sensitive to sibilances which gets you really close to your subject. Which you may or may not want. Obviously a condenser mic will always sound better, but they are not gentle when the subject turns their head against the mic. A lav would be safer because of their omnidirectional pattern meaning the sound won't change as much when not faced directly towards the sound source. Also lavs are way more flexible, and take very little time to set up, especially when moving around, and a lot easier to carry around than a big mic stand on smaller projects. Especially if you're on a budget (EDIT: and will use the equipment for future projects, wireless lavs are deffo not that cheap!) a lav is the way to go. I like the Sennheiser AVX system because of the rugged antenna, but the g3 has the advantage of being able to use AA batteries. my 2 cents Edit: come to think of it, you can get lav mics with standard jack cables for cheap if you don't need the wireless transmitters/receivers, if you really want to budget.

OP is doing videos for a while, its maybe one of his first customers, but its not his first video. 200€ is way too low, if he asks 200€ now. Offcourse the client will hire him. But you will not be able to negotiate for a much higher price for the next video. They come to you because you are cheap, not because you have skills. You cannot live from a 200€ dayrate (when taxes etc pass through it), then you are better off working for a production company. Well 1000€ per day might be too high as well, over here 1000€ per day in Belgium gets you a veteran DOP with Arri amira + light kit + movi + sliders etc.

I am still playing cos I am still just passing the time but I wonder which of the regulars "you" are? Oh and samples showing how that 28mm lens (or is it 21 now?) replaces those other lenses since I need to learn. My apologies for suggesting you ask your mum. Maybe it should be your treating Physician?

Im sorry but unless someone shows me a moving video with problematic aliasing Im gonna go ahead and say it doesn't exist. Peeping at the studio tool shows me just as much as charts. Nada.

The Nikon D850 doesn't use a Sony sensor you silly "Canon person"

Thank you! 6k anamorphic with full sensor area is my main worry. Can you post an example?

Dude, the resolution in 4K of the D850 is as good as the 1D X Mark II / 1D C... https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=nikon_d850&attr29_1=canon_eos1dxii&attr72_0=4k&attr72_1=c4k&normalization=full&widget=555&x=-0.585179526355997&y=0.08446496469310162 What's not to like. I don't tend to quibble over small resolution differences at 4K on charts anyway....Why? At this level, resolution is already so more than you really need even for cinema screenings, yes, and even in 2017. I don't care whether it is effectively 4K or 3.8K or even 3K. At 1080p, I can quibble all I like! (Oh and 1080 on the D850 is superb by the way). The D850's 4K resolution is nothing to be sniffed at. There's some purple false colour on the D850 chart (like ALL the other Nikon cameras, funnily enough) but the actual level of detail and especially real-world detail is a match to the 1D C. Yet on the Nikon you are getting more for your money and fixing the lovely 1D C's biggest downsides (lack of articulated screen and unworkably large file sizes). The colour and white balance are superb and the image pipeline, processing and codec are top notch, as good looking as the Canon. You're getting a smaller form factor, lighter body, better stills, articulated screen, cheaper price and 4K file sizes that are actually practical... The 1D X Mark II only has two advantages and certainly not the codec - it is less rolling shutter and of course Dual Pixel AF yet films have been shot with manual focus since the start to the present day and there's a reason for that. AF still isn't bullet proof or organic looking enough... It's nice to have, it's practical and convenient for run & gun, but it isn't cinema and you don't actually need it for most cinematography. What's more you need to put chart tests into context. If there's some purple false colour on very fine black and white circles and lines at DPReview, but these things never occur outside of charts, then what is more important is that A) it looks nice when you point it at REAL STUFF and B) it does 4K from an 8K sensor!! - a huge technical achievement and gives you the benefit of 46MP stills, which the Sony A9 and 1D C simply cannot compete with. Then there is the Nikon flat profile and colour science, which is superior to Sony, and even superior to Canon in terms of some subjects. A9 does not have a C-LOG-like profile nor can you add one. No S-LOG. No EOSHD Pro Color. Just the standard crap Sony colour. The codec is also very good on the D850... Higher bitrate than the Sonys and cleaner shadows, smoother to edit and better looking grain. There is also the fact that low light performance is excellent considering the 46MP count sensor and superior ergonomics to all the Sony cameras, superior to the A99 II as well, which I actually liked more than the A9. The D850 is a much better stills camera than both of them. Oh and it is full frame... So that look, in the real world, trumps anything minor that appears on a fucking chart.

From the figures here on Ebay at least, no. The 5Diii was dearer to start and cam be found cheaper often enough. I am hardly a Sony fanboy (I use what camera suits me regardless of who makes it and the A7s just happens to be the camera I have liked the most ever for what I shoot though my favourite lens is a Canon that costs more than the camera, I am done with DSLRs though except for just playing around ). Those are actual sold cameras and here at least, the 5Diii is doing ok but no better than the A7s. Someone recently paid over $3000 for a new 5diii and someone else paid about a $1000 less for a new one, the same sort of thing applies to the A7s and the thing that stands out to me is just how little demand there is for ANY of these cameras so the price may be more down to demand on the day than anything (IE if there are two cameras and three people want them, the seller will do well but if there are ten cameras and only nine want them they will not do so well.

There has been a little panic selling here. I picked up a 6 months old A7rii for $2100 AU (about 1650 USD). Came with the receipt and he paid $3800. Asked him why so cheap. He said he did not want to get stuck with it when the new model comes out. I said, thank you very much.

Okay but 4k I assume. Did you test with the GH5 but anamorphic? Isn't it full sensor area when it is anamorphic? I wonder if happens the same results.... Can you check that? I don't know if I am safe with XL for a Tokina 11-16 (not the widest 11 mm). The same for Sigma 18-35 mm.

And others like 12mm 14mm 16mm? They say 16mm covers full frame. For anamorphic too?

Couldn't try it yet I didn't reached yet the final cut of my project (I'm waiting for customer approvation). I'll let you know thx again!

I second Andrew, I would take a serious look at the D750. Love that camera.

D810... You may as well get the D750... It does the same video quality and the stills aren't far off. Same mojo with colour. Handling maybe even a little bit more straight forward. In fact for just 1080p the D750 has always been nice. I'd use it over the D500.

Big knob... on the left side. Turn to time lapse. Power saving: electronic shutter might be handy to reduce wear Screen: This is a bit crazy, but what people normally do is set the monitor/EVF to auto. Then mostly close the monitor screen which turns it off. The EVF will only turn on if you cover the sensor so will also stay off. 2 hours and 20 minutes is the normal 4K recording time of the GH5. Using just jpeg might reduce battery load a bit too. Otherwise one of those plug-in adaptors to Li-ion external would be the way to go. I think @Fritz Pierre has a setup that uses it. Exposure smoothing: That sounds like a Lightroom feature or plugin. Momentary flicker is usually removed with something like “Flicker Free” from Digital Anarchy. They have sales every so often so you can look out for those. Very cool plugin. You can try using Manual with Auto ISO. I then add a reducing brightness to an evening shot otherwise you end up not realising the sun has gone down. Don’t forget to turn AutoWB off.

"We" as in you and your other two accounts?