tweak

Raw out of either of those cams is fun but not amazing imo. 7D and beyond is where it becomes practical for me. I have a few eosm lying around now that I rarely touch except if I want to take out a small stills camera.

The Raw out of the M leaves a lot to be desired imo.
But as a stills camera its very fun and ML gives it a distance scale for zone focus.

When the BMPCC was new and I posted test footage I often got asked about the look I got.
They used the same lens, same film convert but didn't get as "nice", "sharp" or "filmic" results. The reason was that I always used the levels tools to slightly crush the shadows and blow some highlights.
People, and Im talking about real non nerd people, still like contrast.

Nope just good piloting. But these small rigs are much easier to fly inside than a big drone obviously, they are actually super fun and cheap, lots of my friends do the same.

It kind of scares me that people can't work stuff like this out for themselves... "Oh no, my hotshoe is blocked, it's impossible to mount a microphone now, better throw it in the bin!".

However I will agree the blacks are crushed, but I don't mind crushed blacks every once in a while. And I can understand checking different devices and everything looks good but then when you upload it, it seems off. For instance on my computer, this is the best, most cinematic screen grab. The highlight roll off is perfect, just the right amount of contrast to add that beautiful milky sheen. Beautiful actress. And then when I uploaded it here...

Seriously though, I wish there was a basic standard that could be set with all devices to obtain a simple, accurate color and image. I know we can calibrate are screens and use color checkers but then we need to hope the end user won't have their saturation bumped up too much or their contrast too high.
It really is frustrating, so I can relate.
With that being said, I liked the piece and I do think it looks cinematic and I don't care about the crushed blacks because the story seems interesting and the camera movement and composition is beautifully done.
And I am surprised this was done with the GH5 because I haven't been that impressed with it.
Don't get me wrong, I have seen some nice stuff from it, but most of the stuff I've seen shot with V-Log in 10bit looks like it could have been shot with a GX85 or G85.

If you're using a GH4/G7/GX85/G85, a lot of vintage 1" 12.5mm TV lenses will cover. The faster the aperture, the better the coverage. With the GX85 and IBIS on, I got full coverage with the 20mm Meopta lens.

I've seen a lot for this price in AUS (less sometimes), no one seems to want them anymore.

48fps is about 15seconds??? (if I remember rightly? but I'm not sure), but it's something closer to a cinema wide screen aspect, not 16:9. But the quality is good and you could crop back to 16:9 if needed. I don't use it much though as I don't use slomo much.

Here I found the original page (member N/A) -
https://www.magiclantern.fm/forum/index.php?topic=9848.850

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1728x692 48 fps slow mo. But wait a minute... When I play it back, the footage is normal aspect, no stretching required! I'm kinda running on no sleep in 2 days, I need someone to confirm this ASAP. I noticed when I set the cam to 1280x720 60p, and set the fps override to 23.976 exact fps, the liveview display was stretched vertically, so when recording it and playing it back records it in normal aspect! Timer A under 23.976 exact is 422 (FT -76). So I set the fps to 48, and Timer A back to 422. Mlv settings-
1728x692
3:2
GD Off
Canon preview
256 MB warmup
SRM On
Hacks on
4 buffers
Reserve on
Global Draw off
Expo override on

Rokinon 35mm manual cine lens

After messing with it a little bit more, the black and white levels get all wacky sometimes and the exposure is super glitchy. At first, I noticed this while testing out different settings in 640x480 mode, going to do some more tests soon as I charge my battery. 

:edit: Yeah definitely a bug in the fps override control. I just downloaded the latest nightly, same thing. How exactly does fps override cause LV to stretch? Or is this a new feature I completely missed?!

:edit2: Ok, just figured out that this bug has been in the nightly since 7d fps override was implemented. 

:edit3: To fix this issue, Timer A needs to be set to 498 (FT +76) for 23.976 exact and 440 (FT +10) for 60 exact.

1.  Trust your own opinions.  Don't follow what someone likes, even if they are a big shot DP.  Do tests.  Use your eyes.
2. Don't be lazy.  Being lazy is the worst.  Get low on the floor.  Move that light higher or try something different.
3. Be prepared.  Be organized and think before the shoot as much as you can.  Make diagrams and lists.
4. Do not overlight.  Trust yourself in the moment.  Step away from the monitor then come back.  
5. Bounce the light.  Try that first, then direct.
6. Use a capture device like the odyssey 7q and then take screengrabs and you can compare your lighting and blocking.
7.  Communicate as much as you can with your crew ahead of time of how you work.

35 f2 should be good for what you need. I also have mainly all f4is lenses and low light is a bit of an issue sometimes, I have vintage primes that are fast but no IS... 35 f2 is kind of on my radar as well, but it's not really a priority so I haven't scooped one up.

I've been doing everything in my control to shoot this film under the best circumstances. I'll drive a couple hours to get that sweet spot during magic hour for two or three shots. I've been lucky so far, and have ended up with a dozen more shots than I planned, but I either need to start lighting my talent or get a faster lens. Since I am shooting incognito at these places, the lens will be my first attempt. I've been using the 24-70mm f/4 and I love it but I need a little more speed. I'm hoping the 35mm f/2 will be a good fill in lens for those scenarios. Oh yeah, I'm also shooting entirely handheld... so I need the IS... so yeah... I'm a moron.

Ha, I think I am still on 2012 scale... I couldn't afford a 7D back then, so I just assumed I couldn't last year. 
I start searching for stuff at the ML Forums but usually end up frustrated. If a question was asked once three years ago, people go ballistic for having to answer it again... so then I spend 10 minutes reading why that guy was a douchebag for not properly searching the forum for the answer... and then I forget what I wanted to know. It's a vicious circle of confusion. Lol. 

7D

Lexar 1066x CF cards.

MLVFS + Resolve 14

Can shoot the full sensor continuous 14bit (very close to 1080p 16:9).

Haven't had an issue yet. I think if you're on a budget this is by far the best deal. 7Ds can be had for about 400dollars, sometimes less even.

Well if you plan to edit Cinema DNG you should copy them to a fast SSD or RAID drive anyway, so they have to come off the card, it can be flakey and risky to edit Cinema DNG direct from the compact flash or SD card via a reader.
If you plan to edit in anything else you need to convert to ProRes and here you can mount the card with MLVFS and do the conversion in Resolve 14, then reuse the card straight after if you only plan to keep the ProRes and not edit the raw.
LOG ProRes is a very good raw substitute  If the camera recorded 10bit ProRes internally we'd all be very happy, so it's a small time penalty to pay for such a leap in quality from the absolutely shit Canon codec.

It's probably a little faster on my computer too. Am definitely going to go that route after this film. But since I started with the RawMagic to DNG to Resolve to ProRes to FCPX route, I'll finish this project that way. And then with my next film, I will probably test out the lossless. 
Yeah I will stick with the LOG ProRes method. I just like working in FCPX. Is that how it works, you structure the CF card with MLVF using FUSE and then Resolve will recognize the files and I can process the Raw through the Camera Raw tab just as if they were DNGs and then render out as usual to ProRes? I assume if I wanted to save the MLVs to a hard drive, then I would just structure the MLV folder as MLVFS? Or something like that and I'm confusing the terminology. 

Well it depends what you are doing/needing I guess... Sure you could go straight from card or copy to a harddrive. I still think copying to a harddrive is way quicker than converting all those files (at least on my computer it is) and if you have the space it's nice to have the originals. With 5D3 lossless that will be less space needed as well now (I wish I had that). For me MLVFS is just a seemless workflow and it's a pleasure to use an edit with.

Yes!
(only requirements £800 and waiting a few weeks / months) :-p

Do you know how to convert it into a Hardcore DNA as well?

48fps Raw, no squeze 7D  
https://drive.google.com/drive/folders/0Bz5n0qYxIkVOMnJMeWhkU3pMVjQ

Heads up to users of the 72mm version of the SLR Magic Rangefinder (the discontinued one without distance markings)...
The rear 72mm attachment ring on mine had some rotational play. I decided to see if I could remove it. I succeeded, turned out the connector was a step ring glued on! Underneath a 77mm thread, just like the one with distance markings. See pictures.
Trying to remove the step ring (at your own risk ;-)) might be worth it as it brings the RF closer to the attached anamorphic glass, benefiting vignetting.
Conclusion: both versions of the Rangefinder are mechanically the same. The budget version just misses distance markings and got a step ring tacked on (!).

On Digic 4 cameras the 10bit/12bit raw mode is corrupted in full sensor mode, every other image is pink. reddeercity in ml forums is working hard to solve this problem with his 5D2. In crop mode all of the cameras are working in 10/12bit, they just need a little black level adjustment with exiftool (or maybe this is solved with the last MLV DUMP?)
The secret of the 5D3 4K is not just the 10/12 bit mode but the new lossless raw compression feature. It's possibile to use 14 bit raw mode with 54% compression rate which is more effective then the 10 bit mode alone. It can be combined with 12 bit to get even smaller file sizes (or higher continous resolutions). The strange thing is with 10 bit the compression is not that effective.
The downside: the live view is unusable right now if you use compression, and the recording could stop if the image information exceeds the card's max write rate. So the efficiency  of the compression level is flexible. 3,5K continous recording is possibile if you are using higher ISO values (lower dynamic range, less steps in the highlights, more compression possibile) with the 5D3 such as ISO800+
The MLVFS just updated few weeks ago to handle to compressed raw
The compression is an original canon feature and it could work with any camera from 5D2 through 600D but it's in the alpa stage in development right now.

All your lens are belong to us.

I have a 7D, you can record full sensor Raw in 24p continuously. You can also shoot in a 48fps mode in a wide screen aspect ratio without any need to desqueeze in post.

All your lens are belong to us.

All your lens are belong to us.