squig

I could shoot a feature with a 24, a 35, and a 90 but I've accumulated a set ranging from 16 to 300. German film Victoria was all shot with a 25 (37mm full frame equivalent). If you're after a more vintage look the Digital Bolex may be the best way to go. 2.5K raw.

The 5D MK2 doesn't do full HD, slightly less. If you really want to you can record good quality sound on a 5D MK2/MK3 with a juicedlink pre-amp, but it's more professional to record dual system sound with a boom. I don't use EF lenses, I use 60s/70s era Leica-r lenses and Iscorama anamorphic adapters. If you want a filmic Bergman like quality best to go with vintage glass.

On 15/04/2016 at 10:30 PM, TVDino said:

Thanks for participating, I will try to concentrate my previous posts further ...

"What do you specifically NEED?"

1. A Camera able to make a "slow" Bergman-style >90 min. Cinema-movie
    in good-looking 4K 12 bit RAW, preferably with slow-motion-possibilities
    so I can perfect/add psychological colour-tones and lightings in postwork
2. Perhaps a used Scarlet MX (or EPIC MX if affordable)
   + spend on other stuff necessary"
3. And I have access to friends fine EF-lenses, so I "plan to use EF-mount"
4.  But I'm open to suggestions about needed equipment ...

"What features do you WANT?"

Finest grain, true colour and high low-light performance ...  Of course ?
And hopefully the Camera can shoot Ratio of 2,4:1 or well above 16:9 !

You don't "need" 4K. Most cinemas project 2K and you can uprez HD to 4K for Netflix etc.. I'm shooting my film with the 5D MK3 raw HD and I'm going to be sending it to major festivals for consideration.  Dynamic range, color science, and lighting are a lot more important than more than HD resolution. The Alexa's been used on tonnes of films and it's 2.5k. You're better of using the money you'd spend on a Red to buy better sound gear and lighting, and better food for your actors.

Magic Lantern doesn't work on those cameras. 2K is only a very slight uprez from HD and won't cause any image degradation. Plenty of films have been shot in HD uprez'd to 2k.

Magic Lantern does 2.39:1 but only HD. The 1dx MKII or 1dc would be closest look wise but only they're only 8bit. The Blackmagic Pocket and Micro come close but the image isn't as magical as the 5D raw. 4K is a big wank to try to convince consumers to buy more shit. I'm happy with the HD resolution from these cameras, I'm much more interested in extended dynamic range than I am in 4K.

38 minutes ago, kaylee said:

I mean im no scientist but pretty sure that If you think that pure technology is going to be a barrier in the near future then youre an idiot...???

Lulz! When I posted the first vid of Magic Lantern raw (it could only record 2 seconds at that point) the "cynical assholes" said it would never work. A few days later I posted a 1 minute ML raw vid. Soon after that ML cracked the 4Gb file size limit. To this day some cynical assholes are still saying it doesn't work (unreliable). Bullshit!

I've never been a Red fanboy. I had access to a Red One at film school, but I shot everything with my 5D MK2, and I've been filming with DSLRs ever since. The BMMCC is my first 'digital cinema camera'. The 5D MK3 with Magic Lantern is still the camera I film with, it's quite erm magical . A friend offered to shoot my film with his Dragon but I said no thanks. The whole Red attitude thing turned me off them. Working with a small dedicated crew of hackers who are way ahead of the game is more my style.

3 minutes ago, Mattias Burling said:

Never seen it, but if its fixed no prob.

Yeah, it was a weird one, didn't appear to affect everybody's 5D's. a1ex didn't have a problem with his. He probably thought we were on acid

Good news. a1ex from Magic Lantern has squashed the 60p/50p pink frames bug http://www.magiclantern.fm/forum/index.php?topic=5473.new#new

The new 3x3 720p crop mode produces great quality aliasing free 2K 2.39:1 anamorphic slo-mo footage. I'm shooting with a 1.5x Iscorama and a 35mm Leica-r which equates to a FOV of around 45mm.

On 05/04/2016 at 5:50 PM, hmcindie said:

Great shots squig!

Thx.

On 05/04/2016 at 5:46 PM, Mattias Burling said:

You mean you get pink frames in in the 1920x672 slow as well?

It affected any aspect ratio @ 60p. All fixed now!

4 minutes ago, Policar said:

I still don't get why anyone is using auto white balance. I see 3200K 5600K and rarely 4300K and that's it. 

 

Who said anything about AWB? Always Kelvin.

8 hours ago, Jimmy said:

Sony sensor in raw has great colour... I love the stills on my a7s... Skintones are beautiful.

I hate the video with a passion

I concur.

And yeah the A7s white balance in video mode is shithouse. Anything but 5600k usually turns to shit. I use it in place of the 5D for photography, not because it takes better photos, but because its more compact and I like the EVF.

I've never denoised any of my films. Sometimes I add some grain to mask it.

I reckon it'll look something like this with an e-mount for Sony's new GM lenses. Like a compact D5/1dxII with a price to match.

18 minutes ago, Mattias Burling said:

It at least sounds good.

XQD can write 400MB/s+ fast enough for 4K raw. I'd be happy with 2K, <15ms rolling shutter, and 13+ (no bullshit) stops of DR, and some decent color science!

But yeah it'll probably be overpriced and underspec'd as usual. I expect I'll be shooting with the 5D for at least another year.

Remember that "make believe" 1Dc shaped DSLR shell Sony showed at NAB 3 years ago?

http://www.sonyalpharumors.com/sr5-bomb-rumor-first-a9-specs-dual-xqd-card-slot-unlimited-raw-burst/

The day Magic Lantern made 2 second burst raw video possible on the 5D I figured it was only a matter of time before DSLRs shot continuous 24p raw. A few days later it became a reality. It makes a lot of sense for Sony to go raw considering the profit margin on XQD media. I really dig the raw stills from the A7s, the video not so much; the 5D with Magic Lantern is so much better. Bring on NAB!

Testing in shit light is a good idea. There's always those times when you have to shoot someone running down a dark alley at night naked chasing someone with a knife (without a permit). In that situation fixed pattern noise is going to be a real concern.

There's low light, and then there's shit light. It's okay in low light, but not as good as the 5D MK3 raw.

6 minutes ago, giostrante said:

Relax guys, I know what  I've done, it's just a stress test, I didn't want to awake the professor inside all of you, keep calm!

It's more than a bit I'm afraid

Compared to the 5D MK3 the BMMCC FPN is practically non-existent (if you expose correctly). It is a noisier camera than the 5D raw overall, but the noise looks more filmic.

If you can't handle a bit of fixed pattern noise, maybe digital filmmaking is not for you.

If I couldn't scrape up a couple of hundred dollars for a raid, I'd definitely go with the C100 for the extra DR, resolution, low light ability, and rolling shutter.

4 minutes ago, User said:

OP states that raw on the 5D3 is not an option for the production, so naturally I'm talking about h264.

I don't really get the not an option thing. Hard drives are really cheap these days. I set up a 12 terabyte raid (big enough for a 35 day feature shoot) on my mac pro for $1000.

1 hour ago, zerocool22 said:

About exposing the  c100 and the 5d. I should not worry about overexposing 2 stops like the a7s or underexposing a stop on the gh4 for getting the best image am i?

Best to expose to the right with the 5D unless you like fixed pattern noise. I overexpose quite a bit and recover the highlights in post (raw).

18 minutes ago, User said:

The C100 renders a WAY more detailed image than the 5DM3.

Are you talking about h.264 or raw? Huge difference.

1 hour ago, Mattias Burling said:

Never tried slowmo in 720p but from that very thread,

"In conclusion, I've come to the realization that some of the issue with pink frames may not come from the MLV files themselves, but from the converters doing the conversion."

Ive only shot the higher resolution raw and never seen any pink frames. I use Raw Magic for the conversion.

Yeah 1080p is fine. If the 5D freezes (happens occasionally) just pull the battery. I've spent 2 days trying to nail the pink frame bug to no avail. Use the Aug 2014 build if you wanna do slo-mo. I shoot slo-mo with a 1.5x Iscorama to get 2K 2.39:1.

There's a longstanding pink frame bug with 720p 60p recording http://www.magiclantern.fm/forum/index.php?topic=5473.msg165309#msg165309

24 minutes ago, DPStewart said:

Now just try to get an F3 with the external recorder on a Gimbal or Steadycam - now you need to spend bigger bucks on a greater capacity system...it all just adds up and up and up.

Yep. Hate to be the one to break it to ya fellas, but size really does matter. If you're not built like a brick shithouse and don't have a pot to piss in, small is the new big.

10 hours ago, Nicolas MAILLET said:

To be honest, i've already used the A7SII for paid works and no problem !!!! The camera is (to my opinion) the least tool you have to consider on a set... I'm sure sometimes an iPhone could do the job on some shots... Great lights, great sound and you're done... And on set, the 5D mark III just doesn't do it for me... Backup backup backup !!!!! 6 minutes on a 64 GB card... Can't do full HD 25 fps without dropped frames... Some people speak about overheating from Sony... And 5D mark III with RAW enabled ? The screen on, hdmi port giving monitoring, and record for long periods and you're done... You have to stop working for some big minutes... To me the A7SII is a camera that i can trust more in. A high speed card and you're ok to shoot 81 minutes on a 64 GB card... 4K, 24 fps, 25 fps, 30 fps... slow motions, high isos... The 5D mark III is out for a long time right now...

I think choosing a 5D mark III right now to work with can be more masochistic than to choose an A7SII or any GH4... But i'm aware that this is my choice as this is my way to shoot...

"6 minutes on a 64 GB card" Record time is more than double that shooting 24p 1080p on a 64Gb card. I get over 15min shooting a 2.39:1 aspect ratio.

I've been shooting raw with the MK3 since the day it came out and I've never had a problem with dropped frames with either the Lexar 1066 64Gb or the Toshiba 1066 64Gb. Mine's been through 2 Australian summers and no overheating, but a second body is a wise choice in hot conditions.

When I shoot narrative work outdoors I tend to shoot at magic hour, and I don't like to lose precious time white balancing. The A7s is shite for skin tones, the A7sII is a bit better. I get that its not for you, just like the Sony's are not for me. If the A7s was hacked it might be a different story.