mercer

I try not to subscribe to political movements or social media prescribed causes created by political operatives to use the masses’ need to be heard on their 15 minute soapbox. It’s amazing how alone we are when we have the world at our fingertips. And these people of power exploit that loneliness and that need to be heard. So, for me, if a cause begins with a hashtag or ends with a gate... I shrug my shoulders and root for the pawns... But I digress... You’re right, this site is about tech and craft. For me it’s about learning from more talented people than myself on how to get a modicum of beauty in my images... but I’m just a hobbyist with narrative dreams. But like you once wrote, “art is politics” so in a community where relationships are forged by artists and craftsman, it is only natural for conversations to evolve from the passion of creation. So what is Jon Pais’ story? What is mine? Or yours? We all hide behind a moniker and an avatar as we anonymously hang our creative laundry for professionals and amateurs to critique. With every screengrab or video we share, we also share a vulnerability and unfortunately some people piss all over that. There are some nasty fuckers on this site. So I guess the question is... is Jon one of them... In the end, I don’t really care what some older American living abroad thinks. As I’m sure others don’t care what a 43 year old guy from South Jersey thinks but I must admit, as a storyteller, I do enjoy the drama. So carry on.

Jon Pais is not Ebrahim Sr... Because... I am the illegitimate love child of Ebrahim Sr and Steve Bannon. Whew... I’ve never said that aloud before.

I just learned how to turn location services off on my phone... so... Maybe this will give you more info... https://www.4kshooters.net/2017/06/02/official-canon-eos-c200-promo-behind-the-scenes-and-is-it-the-right-camera-for-you/canon-c200-output-chart/ @webrunner5 shoot and scoot... haha... love it. Yeah the C100 and the Canon 17-55mm seems like a killer combo... add the 35mm f/2 for a perfect little kit... I’m still waiting to find one on eBay for $1200 or less.

I am hardly one to criticize someone else’s color work but I thought a lot of the graded clips looked a touch over processed. With that being said, I love the C100. I have been tempted on a few occasions to buy the original... there is just something special in that camera that even the Mark II lacks. I love most of what I’ve seen from the C200. If I was a different type of shooter, it would be the perfect camera for me. The C200B could work for me, but at that price, and my budget, it may as well be an Alexa.

I believe the C200 outputs the 2K Raw signal via SDI in 4:22 10bit?

And so it begins...

I just watched a few of your videos and man I love the 1DXii stuff... Northern Cali looks amazing in 4K 60p. I couldn’t notice the 1 stop loss of DR with the 1DXii. What picture profile are you using? I’ve been thinking about picking up a drone. I originally was thinking about the DJI X5R to help match ML Raw from my 5D3, but I suppose that may be a bit much for my first drone. Anyway, great stuff. Thanks for posting. Btw, how did you get so many followers on IG? I need to hire you for PR.

Nice work. I really liked the tone of this video. And man, that 85mm looks insane. How’s the IS on it? Also, excuse my ignorance... but what’s that little drone you were using?

I’d rather have the 180, personally. But I’ve only used Shutter Priority once or twice outdoors with a variable ND, so I was able to trick the camera into opening up the aperture. It worked well on both the RX10ii and the FZ2500. But Auto ISO range in manual mode would be my choice, in most instances, if I needed a semi-auto mode.

Anyway, I guess I only saw Raw and didn’t realize that 2K ProRes was possible externally while recording Raw... it seems like that is the logical Proxy recording. For me, if I ever could afford a C200, this makes the B model even more attractive. I rarely use EVFs, so I may as well save some money and get an external recorder as a screen. As far as that video @HockeyFan12 posted... idk... I enjoyed seeing some C100 footage and it definitely held up for most instances but when compared with the Raw files, the color tonality differences alone was a smack in the face.

I didn’t know you could get external 10bit 1080 while recording Raw? Can that be recorded as ProRes Raw in an Atomos recorder?

Yeah, OT but I was so surprised by how good Canon IS lenses are. As much as I enjoyed IBIS on my old GX85, I really don’t think it was any better than the IS on some Canon lenses.

You’re right, Vertigo and North by Northwest aren’t cinematic at all... ?

Damn it... I was going for cinematic.

Sorry to be contradictory here, but I believe you want to use Shutter Priority to maintain the 180 degree shutter rule. This means you will set the shutter speed to double your frame rate (for the GH5 just use Shutter Angle instead of shutter speed so you don’t have to ever change it if you change frame rates) and then the camera will adjust the aperture and ISO accordingly to have 0 exposure. If you want to over or under expose, you can adjust exposure compensation from +/- 0 based on your needs (+1.7/2 stops for sLog2, etc) With some cameras (I don’t know if the GH5 is capable of this) you can set a maximum ISO so you won’t introduce noise due to the camera choosing to go too high with your ISO. You can also use ND filters to trick your camera to open the aperture if you want to have shallow depth of field. In a lot of instances shutter priority mode can work great for keeping an even exposure but in some instances, with certain picture profiles where you need to keep your exposure at a certain level to mimic the log curve, I find it’s easier to use manual mode and a variable ND or a lens with a clickless aperture with the aid of the in camera meter, zebras and waveform monitor.

Yeah, in that instance the C200 didn’t really make sense for your needs. Honestly, I don’t know why anyone would use the C200 unless they were planning on shooting RawLite.

Thanks, 1/120th. Although I’d rarely use it, the biggest missing feature with the 5D3 and ML Raw is 1080p 48 or 60fps... but this kinda works in a pinch... EDIT: sorry... I used 1/96th. I first tried 60p... but it seemed too much for the camera so I dropped it down to 48p... so I shot that with 1/96th.

Well, I think it’s safe to say that the 5D3 with ML Raw has close to 12 stops and the BMPCC has close to 13... inconsequential. I’ve never tested both side by side but I trust Squig’s comment with highlight rolloff being better on the 5D. In the end, doesn’t matter much... get the camera that gets you excited and create something with it... there are plenty of others that can argue stops of DR or SNR or SNL...

You have a C200 too? You are the Canon poster boy. How do you like it? That’s my dream camera... I can’t wait until everybody on this forum is clamoring over 12K and I can afford a C200B.

The first and last were 100 and I believe the middle may have been 200 or 400. The first shot was with the Canon 50mm 1.4 wide open and the other shots were with the Canon 28mm 1.8... also wide open.

I decided to test some 48fps with the regular 14bit ML build. I processed it as Alexa LogC 24fps through the MLV App. As suspected... since it’s less than HD... it’s soft, but for short close ups... it could work in a pinch. Any updates on the slow motion capabilities with the experimental 10/12 bit modes?

Although the visuals are very impressive... I’ve watched the trailers a few times each... as a screenwriter, I am intrigued by how you used common end of days tropes as a framework to what seems like a more personal story... of course there’s only so much story one can gather from a trailer. Also in the US, and am looking forward to your distribution in the States. I guess if I had a BTS question, I’d be curious to know the ratio of practical effects to CGI? Obviously, the helicopter crash was CGI, how about the dead birds falling to the Earth?

Idk, Raw isn’t just about color grading. Sure the 12 or 14bit color helps display the nuances that are captured within different textures, but even a simple Rec709 conversion would benefit from Raw. I don’t know if the doc you’re referring to is that Sea Gypsies one mentioned earlier, but if it is... I thought it looked amazing. It’s all in the details.

@fuzzynormal although I agree with the sentiment of your reply, I could argue... what would that the indie doc have looked like if it wasn’t shot on Raw?

You must be fun at parties!