sam

4 minutes ago, jonpais said:

Red

that's at the top of the anti mojo cams! 

1 minute ago, mkabi said:

What no love for the 2.5K BMCC?

okay I stopped at 3.  bmcc 2.5k definitely takes number 4 spot.

yeah, the 1dc is talked about in this regard.  but other Canon cams.  no.  I posted above the 3 most referenced cams regarding mojo that I've  come across.

3 minutes ago, anonim said:

 

Second, I also read ("heard") that Canon has that mojo, in very high frequency ratio respective to other cameras, at least at EOSHD. 

No.  good straight out of camera color yes.  but not mojo

On the multiple forums for making moving pictures I've frequented over the past decade, There are three cameras that are talked about in terms of "mojo" than any other.

  1. Sony F35.

  2. Digital Bolex. 

3. Canon 1DC.

8 minutes ago, anonim said:

What for stands abbreviation ES in English - Enough said? (imported but often used so) En suite? Erase Screen?

Ebrahim Sadaawi.

 look at instagram and the billions of pics shot on a phone and filtered to death.

people love it.

  look at the compressed to f&%!% audio people stream to $20 speakers where most of that $20 went into marketing and shipping said speakers to your door.

people love it.

see the trend yet?

4 minutes ago, Kisaha said:

 (e.g the thread about the Canon's, which suddenly became an iPhone Vs all the cameras challenge).

fun isn't it?!  now that phones can be used in the same sentence as cinema!

just wait till someone makes an app that simulates kowas, cookes, hawk vlites etc.

So that sort of sums up what and how you prefer to make a video and some of your possessions.  I like those things too.  we should hang out!    

37 minutes ago, Kisaha said:

Also, I have run out of aluminium foil.

 the bike analogy. I like it.  used to race bikes.  state champ when I was 16. 

have a pro pedal your $1k bike (iphone)

put a bystander on a $60k bike (alexa)

I think you already know the winner.  

you mentioned aluminum being in short supply.  maybe borrow some black wrap from the grip.

I hear what your saying and understand taking color out of the equation. same settings for all.   it's just that for example, if the the test uses a led with missing spectrum or a spike, it won't just affect color.  noise and tonality in a certain color channel can be affected, which can hurt one camera and not the other. Have you seen the video from Arri where they show their skypanel vs their own tungsten lamp?

 another example.  will a camera manufacturers idt be used inside of aces to transform to rec709, p3, rec2020, etc... or will manufacturer provided luts be used, or just by eye or?  will the proper levels ie video vs data levels be properly set and maintained on both ingest and output? if luts are used, will adjustments be made before or after the lut. and then what's the method for going monotone and then who decides contrast?   video i.o. card or is monitor hooked up straight to gpu?  many, many other technical details if you want to truly compare.   

 there are so many variables that would need to be accounted for any semblance of fairness in a blind test for the pixel peepers on a budget users here.  As you alluded to above, certain variables might drastically benefit one cam or another.  light source type, software, workflow, display used for grading, displays used for viewing, compression, streaming, output format, native Iso, format equivalence, lens quality, camera white balance, matching exposure, etc.. etc... if it's just so you you can decide if apple or panny takes your money, thats a little easier?.   

12 hours ago, kye said:

For one thing, they're fixed focal length.  Otherwise I'd use mine a lot more.

 

Well above was all you gave me.  And thats simply not true. Cant you find a decently sharp telephoto lens to use with one these?   www.iphoneness.com/cool-finds/attach-dslr-lens-to-iphone/   

you can't be convinced that a phone is more than sufficient ?!  

or check out Andrews iphone X video here on his site.    or check out Dave Altizers own review of a dslr  vs phone for photos.  ironic how consumer cam users love to show how close they look next to high end cams, but aren't ready to admit a phone is just as good and sometimes better than their gh5.

5 minutes ago, DaveAltizer said:

 

hollywood films WILL MOST CERTAINLY be shot on GH5S. In fact, part of the reason it exists is literally by request from Top Gear DP needing a GH5 without IBIS. 1DC has been out longer obviously so its had time to be in the field. 

nice looking show, 4k hdr and all.  the gh series are used as crash cams.  have you seen the show?

1 hour ago, DBounce said:

That would depend on why you are using them. If a budget issue then it may well be skimping, however, if a creative choice, then not skimping at all.

 responses have been with the context of the original post in mind.  Travel video. Although i presumptously assumed the video will be viewed on a smallish screen in streaming quality. 

in the context of "a major production", haven't we all read of phones being used to shoot entire commercials, shots used in a pinch on multi million dollar films, or even filmed entirely with a phone? is this any different than the cameras you buy on Amazon being used for an occasional shot, or a crash cam etc...

Are you on the plus side of $20k? $40k? with your consumer video gear all rigged up?  think of the talented actors you could of hired instead.  

18 minutes ago, DBounce said:

Well,  I use my smartphones (Samsung Note8, IPhone X, Google Pixel XL) when they are all if have to use. Of course a smartphone could be used to film anything that a dedicated camera could. But if you are shooting a major production, why would you skimp only on the camera? Because you are still going to need everything else (light, sound, sets, makeup, a cast and crew... etc) 

so a 1dc or gh5 is not considered skimping but a high end phone is? 

47 minutes ago, kye said:

For one thing, they're fixed focal length.  Otherwise I'd use mine a lot more.

There are other reasons of course too, but this is the main one for me.

Well that's just not true.  Multiple phones have various optical lengths.  Or add a lens. Tons available.   

16 minutes ago, DaveAltizer said:

 The 1DC has mojo the 1DX II doesn't have for sure. More filmic color science.  

 

and yet you want to retire the 1dc for the gh5s.  And that looks "filmic" ?

On 2/25/2018 at 5:12 PM, DBounce said:

 I would say the 1DXMk2 is a more modern looking 4k whereas the 1DC is more vintage. 

shoot the 1dc with clog off and you have the same "modern"  look as the 1dxii.

unless you are using vintage glass, why not just shoot on a high end phone with a small stabilizer ?  They are just as good as the 1dc, gh5, or any cmos cam when viewed on YouTube on a tiny phone.

2 Canons and 2 Sony's.  

I had previously watched a vid by woodencamera, detailing the process, with the intent of selling their $300 kit.  I eschewed the kit and traded cents for sense. Or maybe I have that backwards!  Part way through destroying most everything but the electronic bits, I realized just how large and old and fu mbly my not quite over the hill appendages had become.  I briefly imagined how a pile of parts would look back inside the tidy Bmd packaging. Would blaming the Fedex man for the destruction be reasonable? I mean, violence against packages during the Holiday season is well documented I reasoned.  But then the allure of an extremely light weight oled with real glass optics and a buttery smooth adjustable diopter that I can use with the glasses that I need for my not quite over the hill eyes won out.  18 tiny screws later, and some very intense moments involving an sdi cable the the diameter of a tooth pick, the evf was ready.  I anxiously powered it up.  Nothing.  A feeling of panic quickly ensued.

  Then I remembered the evf has an awesome feature where it powers off when it senses your eye is away.  I immediately placed my eye up to the  display.  I was greeted by the sight of my slightly dirty floor.   Like the Koolaid man.  Ooooh yyeeeaah.  But the joy of performing an open evf transplant was short lived. I realized if I couldn't find a way to mount the evf, I would have to repeat the entire surgery again to install the kit from woodencamera.  Ooohhh nooooo.  An hour of trial and error later. I found a Manfrotto pico clamp.  

Success.

Jon, you'll be happy to hear at least one of the "snobs" at LGG, Marc Wielage,  uses the c7 for daily grading, but not sure If he uses it for hdr work.   If you buy a certain remote for the lg's you can access the service menu which lets you turn features on/off (specificallyMaxfall) but use at your own risk!  Sounds like you've put some time into figuring @$&* out.  Oh, and now that you can see what your looking at, I can't understand why you still like the gh5?   

Since this thread has already wandered, Jon, do you have access to Netflix or Amazon?  If so I think it will be quite easy for you spot the difference with 4khdr material.  The Ridiculous Six is shot on film and supposedly mastered in 4k Dolby vision.  Beautiful natural looking imagery.   Another thing to keep in mind, is that your Lg is upscaling hd automatically, as well as applying various detail, sharpening, contrast enhancement, etc....So unless you have turned all of that off, you won't really have a good idea of what footage looks like.  Also, another thing to think about is a bmd mini monitor, decklink, etc... combined with DR14 so you can send hdr metadata over HDMI (Not to mention a video signal unadulterated by your mac/pc/gpu.) 

Yes the pixels can come back. Resolve 14 has a  pixel fixer or can be done manually in other software.  You can minimize heat and extra long takes when possible to decrease the chance of occurance. I myself wouldn't have the slightest concern about buying the 1dc used or the potential pixel problem,  but a new 1dxii would certainly be less of a risk.

I've owned the 1dc since release.  I had to send mine in to Canon just once to map out problem pixels after some 20 + minute takes.   Only other issue in 5 years of use was a fail to power on.   Canon promptly fixed both issues free of charge and also offered to ship out a free loner cam if I needed.  The 1dc is as rock solid as they come.  Mine has been in the water beneath a frozen ice covered lake (in a water housing), strapped to a surfboard pounded by waves, suctioned to the hood of a 600hp muscle car on take off, and knocked to the ground on an Xgames style bike jumping course, all without issue.   Guess I should add that Resolve 14 plays my native files smoothly on a mid level i7 pc as long as the files are located on a fast drive, so no transcoding necessary.