mercer

Yeah tell me about it. This is what I edit and color with. It can be pretty aggravating.

Yes, you upload ML onto an SD card, then the FW is updated in camera. With the 5D3, you can leave the SD card in the camera and record to CF but the camera will recognize the ML firmware every time you power on. With other ML capable cameras that only use SD, you have to have the ML firmware on every single SD card you record to. Yeah I try to get to ProRes as fast as possible. There are a few steps but nothing drastic. So far the easiest way is through that MLV App where I can do some basic Raw changes and then export as a Log ProRes file. It does have a LogC option that works pretty well with LogC to Rec709 LUTS. These were done using the LogC curve in that MLV App. Great GH5 image from David!!!

Yeah that’s another excellent short @Wild Ranger ... simple concept with smart ideas. You should look into submitting to Eli Roth’s Crypt TV, I think they have a submission call going on right now. Are you using Sage’s LUTS with the GH5s in these shorts? @Sage if you ever get a 5D3, you’ll be blown away by ML Raw. And if you’re capable of creating processing apps to convert the footage from MLV to CDNG or ProRes, I’m sure a LogC curve, before the render, would be epic. I find Canon color responds nicely to low strength Arri LUTS already, so with your skills... Check out the MLV App to get an idea.

Is the LogC curve similar to BMDFilm? A few of the samples remind me more of Ursa footage.

They’re well deserved. I loved how you used the practical flickering lights to break up the shots and acting of the screaming actor. That’s a difficult scene to play for any actor and by breaking it up you built story tension and allowed your actors’ talent at physical acting to play without going overboard. And damn, that was some nice color work!

Yeah I loved the slow burn of the film and as you said the atmosphere. I also love the lens choices and obviously the color. But I agree that the end was... an end... but even with that, the climax up to the resolution felt a little rushed.

I love The Witch, it was one of the best horror films I saw in a while. So it’s interesting to see how you can emulate it. I’ll have to reread this thread because some of the phrases and features I missed. If I didn’t have my 5D3, and had a GH5, I’d definitely be a customer.

Great reply. I look forward to seeing how this progresses. The color is definitely better than stock Panny color, so right off the bat you’ve made the GH5 more attractive.

And I appreciate the work you’ve put into it. And I don’t mean to sound like a grumpy dick on a forum... Grr. I’m a self professed bad colorist. So obviously take my opinion with a grain of salt. But a lot of the images, although really nice seem to be missing some of the magic that an Alexa offers? I wonder if it may be a good idea to take specific high end color grades from popular films and try to emulate those looks? For instance, when I think Alexa, I think The Revenant, or I think of The Witch. Btw, I remember that conversation and I appreciate the samples, but with life being as hectic as it is lately, I’ve been on my phone more than my computer, and I cannot download the images. Anyway, nice work and carry on. I enjoy seeing what you guys are coming up with.

So, sorry I don’t mean to be rude or anything but as good as all of these samples are... which they are, they look great! But I don’t really see Alexa color. I see really good Panasonic color with refined tonal gradations and highlight roll off, but I don’t get the Alexa reference or comparison. Btw, @Wild Ranger I recently saw your short film Record on YouTube and I really have to say what a great piece of work that was. That short alone could keep people in the GH5s camp instead of buying a P4K. Great images, great story and excellent directorial choices!!! It’s definitely one of the best low budget short films I’ve seen in a while.

Yeah that sounds like a lot of footage. I understand that you don’t want to miss anything but with that many clips, it seems like you may be missing out on your holiday. Plus, how long are the videos you make from the clips? I think what Mark suggested is a good idea for this project but for future projects you may want to map out your day every morning with shots you will need to tell the story. For instance, if you’re going to Disney World, you know you’ll want that wide iconic shot of the Castle. If you know what part of the park you’ll be spending your time in that day, you’ll also know what rides and attractions are planned. That alone would give you a rough shot list. Get the shots that will frame the story and some impromptu shots while the action is unfolding and grab a beer in Germany at Epcot Center.

I just watched the video again, and I must say, the color tonality you’ve pulled out of your dog’s fur is night and day compared to the standard Sony color... and I quite liked the Sony version as well. But your version looks like you pulled a couple extra bits of color information out of it... Really cool!

Yeah, this one may be my favorite of all of your EOS-HD Pro Color options. Really nice work. It looks like it was shot with a much higher end camera.

I think that’s the XC10 on the left.

As he said, he’s an old ENG guy, to him the C100 looks like a toy. If you want really small, pick up an SL2, now that thing is tiny. But for the features you’re looking for, if you want to stay with Canon, you may have to go bigger. And honestly, without the top handle, and shooting handheld, I don’t think the C100 would draw any more attention than your XC10. Yeah I would love something like that too. As I said, right now I’m happy with the 5D3, but if Canon were to think out of the box like they did with the C200 and introduce some kick ass video features in this new FF mirrorless or the new cine camera, at a reasonable price point, I would definitely consider it. Hell I don’t even want the 4K, so I should be easy to impress.

@tweak there aren’t too many ML Raw users around, so I remember the few of us. It’s funny I almost bought a GH5 last summer... actually I did order an open box model but an hour later I looked at footage from my 5D3 and I cancelled the order. A FF Canon mirrorless is very exciting to me as well, especially if you follow the rumor sites. Almost every rumor has stated that it is video oriented... what that means to Canon... But I am really kinda hoping that they will sneak RawLite into it... even if it’s only 1080p, I’d be floored. Between the FF mirrorless and the supposed new cinema line, I am hoping for the best. With all of their faults, I still enjoy the build and form factor of Canon cameras. In the meantime, the M50 seems like it could be a fun camera to toy around with.

You retired your 7D and picked up a 5D Mark III? How do you like it?

Can you hook into the band’s/venue’s sound system?

You never know, you have some pretty amazing production value right in your backyard. Put together the right story and you could have the next best short on the festival circuit. I haven’t seen Sicario but I’ve obviously heard good things.

I didn’t see that, thanks. Hmm... that’s interesting. I can see it though. In some ways the move from the GH5 to P4K is a lateral move... especially if sensor size is a concern. Are you getting enticed by the glory of FF? Honestly, I’m kinda interested to see what Panasonic is planning for the GH5s now that the P4K is coming. I’ve seen some nice stuff from it but for the money alone, the Pocket wins. Now if Panasonic can wrangle up ProRes Raw or something similar, with a lower price... game is on.

Right, you weren’t specifically referring to the GH5 as much as you were referring to any modern camera with modern conveniences but you have been known to defend the GH5 to no end... which is cool, I do it with my 5D3 as well. It doesn’t much matter anyway, this thread has nowhere to go until some footage is released and some cameras are released into the wild. With that being said, I really do appreciate John Brawley’s contributions to this site. The discussion I had with him the other week regarding his experience on the production of The Resident was insight rarely received from a pro to an aspiring director. And he seemed more than happy to offer it. So maybe it’s a little unnecessary to pick apart the minutiae of every sentence and every word he ever posted on this forum to “win” an argument?

Not that I really care about this argument, but right or wrong... Jon Pais, for dramatic effect, (or melodramatic effect... lol) was quoting Frank Glencairn’s use of the word “sissy” in his article. Obviously he was doing it because he wants to remind the world that the GH5 still exists and that AF and IBIS aren’t just for sissies... they’re for fanboys as well... lol. Is it kind of annoying... yes, but at no point do I think he was using the term, sissy, in a derogatory way. And I don’t think Frank Glencairn meant it that way either when I read the article. This world is getting so politically correct there will be no such thing as comedy in a few years.

Actually I think the bitrate is higher on the M50 than the a6500. And I’m unsure if grading sLog2 takes away Canon’s color advantage... More DR yes, color advantage... shrug. Anyway, they’re such different cameras, I wouldn’t even compare them.

Also remember if you like Rokinon lenses, the 12mm f/2.2 cine lens comes in the EF-M mount. They have a few of those smaller aps-c lenses. I’ve used the 12 and the 21mm, which I liked for their size and smooth operation. They also have a fast 35mm. So on the M50 with 4K crop, the 3 lenses would give about a 28mm, 50mm, and 85mm FOV respectively... hell, it almost sounds like they were made for the 4K crop of the M50. Haha, just posted something similar. But the good thing about the 1” lenses is that you can get almost new copies for less than 50 each... so depending how serious you want to be with the M50, would determine how much you want to drop on lenses for it.

Good to know, thanks. I’ve been craving using an old fashioned Canon camera and DPAF... really just DPAF. I’ve seen so many videos with it that I think it would be a great tool for my style of shooting. Obviously it won’t take the number 1 slot in my bag over the 5D3, but for certain things... I still love that old school, soft Canon 1080p like Kendy Ty videos offered. I was contemplating getting an 80D to mess around with but unlike other Canon cameras, the price on the 80D hasn’t really dropped as much as I’d like to pay. With the c-mount 4K of the M50, it seems like a great option since I already own a bunch of c-mount lenses. I actually have a 26mm 1.9 Kern-Paillard up for sale on eBay that I may end up keeping. Okay 1” c-mounts that SHOULD work would be the Fujinon 12.5mm f/1.3, Cosmicar 12.5mm f/1.4 (silver with scalloped focus ring) Canon 12.5mm (I think it will have VF in it’s naming scheme somewhere. Those are the 3 I’ve used with the G7 and GX85 with full coverage. Those cameras have a 2.2x crop so I would think they should work with the M50. Otherwise, you can also look into any 1” machine vision or TV lens... Kowa probably makes one or two. SLR Magic made an 11mm “Toy Lens” that some people used with the BMPCC but I believe was originally made for M4/3, so I assume that should work too... but they’re near impossible to find. And finally, one of the coolest c-mounts I own I paid $4 for... it’s the Meopta Openar 20mm and it covered the GX85 with IBIS on. Now I don’t remember if there was an additional crop with IBIS on the GX85, so take that with a grain of salt... but if that lens works on the M50, I’ll be completely stoked as that lens just has some amazing mojo to it. This was shot with it using the Micro... and then there’s a picture of the lens.