mercer

What lens did you use?

Thanks, what’s the advantage to upscaling them? Does it take long to process the render to ProRes when you do that?

@kidzrevil what is the super scale feature? And what program do you use for Chroma Noise? I can usually fight it with ETTR but as I am starting exterior night shots in my film, I’m afraid of that blotchy chroma noise in the shadows. @squig in that scene you shot for your film where the guy was tied to the chair, did you have a lot of shadow noise? I assume you lit that scene but I remember the scene was designed to have pockets of light and shafts of shadow, were there any issues, or did your lighting design compensate for ETTR and chroma shadow noise?

That’s actually perfect. I’m pretty sure they’re all the same lenses but when I had the SLR Magic 26mm, I wanted to believe it was better than the Fujian. Either way, there is something interesting about the silliness.

Thanks, do you have any C-Mounts? Hell even one of the Fujian c-mounts could be fun. Also 1080p is fine.

Yeah that is pretty odd. Have you done any tests with weird lenses on it? How’s the JLog? I assume it’s kinda like Canon Log?

Watch the LS-300 get a Raw export. It would be the camera that just keeps on giving.

I meant specific adjustments to the Raw Tab in Resolve... changing the numerical values for Vibrance or Shadow Detail or Midtone Detail. For the most part I’ll do a rough trim of the clips, correct WB and maybe Saturation in the Camera Raw Tab before I export to ProRes for a final edit and grade in FCPX.

Make it 40... to me this camera doesn’t even exist. Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it... Eventually card info will be released, and more people will complain. Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain. Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain. At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS... And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous. The End.

@DBounce so have you decided if you’re going to take the C200 plunge? Also, out of curiosity... what type of stuff do you shoot? I know you are going for a cinematic look from your test videos, but it seems you may be like me... with a higher budget... a hobbyist that is really only interested in narrative filmmaking? @DaveAltizer let us know how you get along with the M50. That camera really intrigues me for a small 1080p AF camera. And it should be great for some, for fun, 4K with c-mounts.

I didn’t know that either... that’s a good thing, though. If I were you, I would ditch Faithful and try Prolost Neutral settings. Is this mostly happening in 120p with 1/240 shutter? Are you using the in camera meter to judge exposure?

I think there has been some rumors that it may be announced at Photokina.

Out of curiosity, how much and which of the post Raw specific controls do you use in Resolve or ACR? For the most part I have been just using them to correct WB, even though I rarely even have to do that. But I wasn’t sure if some people go all out and treat the clips like they would process a Raw photo? Also, I’m finding that 9 out of 10 times my corrected clips end up looking damn close to the default Rec709 conversion in Resolve and the Footage App, does anyone forego the transfer to a Log Profile in post? I assume there’s a slight hit in DR possibilities processing them that way but if there is, it seems negligible.

@sanveer I was referring to a combination external monitor and camera controller for the BM Micro. A couple months ago @BTM_Pix was talking about cheap Chinese HDMI displays, so I was curious if he could combine that with this controller and create an all in one monitoring/menu solution for the Micro. Btw, @BTM_Pix I really dig that Nintendo controller style. I don’t mind scrolling up/down if the interface is still simple? As far as Sony cameras go... some type of control that cycled through the various picture profile settings would be pretty darn cool. If my memory serves me correctly you created something similar for Panasonic picture profiles a while back?

OT: don’t you live by the coast? Is this place inland? Either way, what an amazing location for a film!!!

This is really impressive!!! It makes me want to buy yet another GX85 or a Sony camera. Which Sony cameras will this work with and what kind of controls are you envisioning? What about the BMMCC... Is there any way to produce a version that has a monitor as well... with clean, multiple connections that would attach the monitor through HDMI and also hook into the other connections for menu control? Also, an Intellivision controller overlay could be a good idea so the operator can easily see what each button works. And then you could just switch out the plastic overlay for each camera.

That looks like a mixture of aggressive grain and compression artifacts from the jpeg. AKA Jpeg Schmegma. Plus, if I remember correctly this wasn’t shot in Film Log Mode but Extended Video Mode, so it probably shouldn’t even be counted as an example of the camera’s capabilities.

Sometimes I wonder why people treat small productions as if they’re on a Hollywood set and are required by the union to have a best boy. Thanks Kye, I’d like to see that set up.

Is the rolling shutter bad in 1080p as well on the 5D4?

The 1080p looks great on the 5D4 as well.

I can’t tell you how happy I was to hear your 1DC didn’t sell... or the guy didn’t pay... and that you decided to keep it. Do you still use the GH5s, or was that a fleeting obsession.

Well one of my friends (and actors I use) has recorded his parts in Edict Zero on an H4. But yes, I am unsure what the main creator uses. My friend has also been in The Fall and a few other high quality audio dramas and there hasn’t been any issues with his recordings. Of course he built his own sound booth, so it’s obviously not the same thing as field recording.

Btw, I appreciate the time people take answering questions and am not trying to be difficult here. Yeah, I will be, I just mentioned that it was one negative with the XLR module. I’m just confused because I have read very positive reviews on the F1, but it seems I am gettting a different story here.

Well, a refurbished H6 can be had for $288 and the F4, when on sale, is around $500... so that’s a pretty substantial difference. I can pretty much guarantee that I’ll never have an audio department so the F4, although a better investment, would be wasted on me. So if I go with a field recorder, it really needs to fit in the palm of my hands. More than likely, I will buy a DR10L and an F1 and do a side by side test to see which I like better. My Olympus was built for nature recordings, so I could always keep one of them for Foley and ambient sounds. Well I asked for advice because I am not the most knowledgeable audio person. But sometimes on this forum people ask an A or B question and get a C answer. For instance why is the DR10L better than the F1... are the preamps better? Is the F1 noisier? I know some guys who record really high end audio dramas with H4s... if the H Series sucks, then why specifically does it suck and why would these guys use it? I always try to learn a little by asking some questions.

That’s exactly what I was looking at the F1 for. I may get the XLR attachment at a later date. It doesn’t provide phantom power, but some mics won’t need that. As an all in one device it seems more useful than the Tascam plus it seems to have a better build quality.