hmcindie

That said, I would say that a 200mm f2.8 is almost a must for filmmaking, depends on ones style though. For controlled dialogue scenes? Sublime.

Yes! Use their plusses and weaknesses to match them! So the DJI Osmo is a wide-angle gopro and the best parts of the 5d mkIV is the depth-of-field and cinematic 4k. Completely opposite. So all the wide angle tracking shots were left for the DJI Osmo while the 5d mk IV took a more gritty approach (handheld, more teleshots). That way I didn't have to match shot-to-shot (like for example an over the shoulder shot to another with a different cam, which would be more difficult). I also added a bit of distortion to the gopro shots (wide angle lens distortion to "mimic" anamorphic lenses slightly) also added grain to everything to hide some differences.

We shot a little chase scene just as a test to try and see how we could match the 5d mark IV and the DJI Osmo. It's... possible though the look you can achieve with the Osmo is pretty much like a GoPro on a gimbal. Second time using the 5dmkIV for me, this time we used wifi to get the image to our phone with the Canon Connect tool. Then you can focus on the phone screen by tapping it. I was surprised by how well it worked, there was some lag etc but it was usable. Anyone else here used those wifi tools where you can see the image and focus on your phone? There is surprisingly little talk of it anywhere.

True but even if you use a camera that can capture those outdoor lights pretty well (Sony a7s is a good low-budget cam for that stuff in slog2) you might still need to add some lights to your indoor shots. Otherwise you will spend an eternity in grade doing power windows.

MPEG Streamclip has always done some color mess ups. So yeah, ditch that thing already (isn't it really old too?) Bitrate is what determines file sizes so if you want those 2gb files, just lower your bitrate.

Yes because that 3-5% are not film makers. Most are just using the video features on auto to film something, without even wanting to shoot anything in s-log. Then the pro's shoot with something larger than a DSLR leaving a small niche of people using DSLR/Mirrorless cams for video more professionally (i.e shooting on manual and focusing by themselves). That niche is almost filled with Blackmagic cameras too. So it is already saturated.

Whops, that's a typo. But the 1080p quality of the a6300 is not very good. I mean, it has moire and softness. It's really nothing compared to the 4k mode. If you shoot without s-log the a6300 and the a6000 have pretty much the same quality 1080p. I have the a6300, it's 1080p is as bad or worse as any Canon. So I'm just wondering... why are you saying that it's good?

Nope, the a6100 a5100 etc have the some soft 1080p mode as Canons with moire and worse compression artifacts.

Quicksync isn't used because to use it means you have to enable the built-in GPU of an Intel CPU. And most pc-users use discrete graphics card meaning that the Intel GPU is disabled. Also quicksync is not very high quality on h264 encodes (atleast two years back) so it was preferable to run without it. AMD is x86 compatible though and according to reports on reddit it seems many people have made an AMD hackintosh.

Oh? I guess I need to stop using it professionally then. What is unacceptable about the workflow? It is if you take into account lowlight. 5d RAW takes over in dynamic range after going over iso 400.

It's as backwards and cumbersome of any RAW workflow. There is only added step before the .dng files.

Playing with the Phantom 3 here. Man, holy shit.

Well I had to have a drink because the shoot was going so badly, here's our behind the scenes, luckily subtitled in english as we tended to mongrel something finnish something.

Jesus what propaganda Simon. Obama didn't outright ban anyone, also that wasn't a hastily done executive order but through congress. Also in no way did it cause the chaos that Trump's order did where actual citizens of USA would be barred entry if they left the country or where people with entry visas would suddenly be barred.

Hey guys, just finished this one we shot in 2014 (yeah, that's a long way back). This was my second time using 5dmarkIII and RAW except this time we shot way more material. It's not very good but we got it finished so I guess that counts for something ay? Sorry about the accents, we are from Finland so our english ain't the most natural. Learned a shit ton while doing this. If you have any questions about 5dmarkIII raw, just shoot away. Everything is upscaled to 4k here.

Good luck, should do well! P.S I just had an interesting shoot where I was doing b-cam with the 5dmarkIII next to a bmpcc in the cold. The bmpcc didn't like the cold at all, it started shutting itself down and my lord it went through batteries fast. So if you are gonna shoot with the bmpcc, make sure it's above 0 celsius.

That NR thing happens with other cameras too, though the ISO cutoff can be quite different. The original A7s started to ghost after going over ISO 6400 / 12,800. The a6300 starts to exhibit ghosting going over iso 3200. It is there in lower ISOs too but way smaller. Just don't zoom in 100%.

I sold my A7s and use the 5dmarkIII with it's RAW video feature. It is a considerably better camera than the original A7s in almost all aspects. In RAW the lowlight of the 5d III I think beats the A7s unless you go to 25,600 and upwards but then the A7s is pretty noisy there too. 5D raw cleans up easier because there is no compression but that does mean you have to do the noise reduction yourself which the A7s does automatically.

I disagree, the 5d mark IV looks considerably better than the A6300, even in 120fps mode. Here's my little test of the 5d mk IV with the a6300 relegated to b-roll. https://www.youtube.com/watch?v=qpQxYtqhYl8 You can see some of the a6300 shots in the b-roll. Shot with slog2/sgamma3 with a lut applied. What I learned from the 5d mark IV: Easy to use. Focusing is a snap. Great image quality in 4k (no sharpening, a6300 has lots of sharpening artifacts and halos on edges even on minimal detail settings). Color is good and a surprising amount of information is hidden in the shadows which you can pull up. 1080p is "mushy and soft" but guess what? The 1080p on the a6300 is worse. Also the 5d is a WAY better photography machine too. What a shocker. You claim the FZ1000 looks better? Well post some samples?

I have the a6300 (and did own the A7s and have shot with the A7sII) so I can't really see what the fuss is. I just shot with the 5d mark IV and had the a6300 as a b-cam (mostly behind the scenes and b-roll) and the image from the a6300 is considerably worse. But you never really hear that over the internet, you mostly just hear that A) 5dmkIV is garbage and that B) a6300 is the best camera ever. I participate in some facebook groups where people constantly recommend the Sony cameras to everyone. And I just can't agree. My own personal choice is that I'd rather shoot mushy h.264 with a 5d mark III than pinsharp 4k on the a6300. P.S the 5d mark III with magic lantern RAW also beats 4k out of the 5dmarkIV. It is truly a hidden gem.

My first time playing around with a Canon 5d mark IV. Had the a6300 shooting behind the scenes: Couple of things I learned: 1. Ewww, how did my jpeg become so ugly in the youtube cover view. 2. DPAF works great, but you may need to fiddle in the menus to stop it from seeking new focus after a face disappears (fast moving action isn't the best use for DPAF). Forwards / backwards moving objects + dpaf is awesome. 3. I was surprised by how much fun taking photos with it was. 7 fps (eventhough it's just one more than the 5d III) seems to increase responsiveness alot. 4. I'm still gonna stick with the 5dmarkIII + RAW video. 4k isn't really that interesting to me. Atleast not yet.

Sure. Here's my reel: https://vimeo.com/173797386 It contains mostly Canon 5d shots and there are also some Canon 7d shots here and there (even shot with the horrible 720p mode a couple of them). There are also some Sony shots there (fs7 / fs700 / a7s / rx10ii / a6300). Feel free to pick them out with timecodes if it truly is so easy.

I find it funny when people complain about All-i codecs being "inefficient". That's the whole point! Those "efficient" ipb codecs destroy motion. One of the best ways of getting around macroblocking from motion is to increase the bitrate and make the frames separately encoded. If that's inefficient then give me more of that.

It's actually the other way around. Already sharpened images with contrast halos is harder to get soft than soft image (without sharpening artefacts) is to get sharp. If you zoom in 100% to a shot from a Red Epic / Arri Alexa, they have very little sharpening if at all. Compared to them a Sony A7r2 is sharpened to hell even with the lowest setting.

If you use noise reduction your low light score will jump up crazily because the SNR goes down as the image smooths. I realized that DXomark was kinda weird when I had the Canon 7d and the Sony nex-5n. The nex-5n scored much better but I got better images with the 7d. Also the differences between them were extremely marginal but in scores they were miles apart. Also the nex-5n had trouble with lighting that was easier for the 7d (even in raw, especially blue highlights from leds) which DXOmark didn't spot at all.