mercer

@Dustin good deal. I would still go with the G85 if I were you. Wait a month and save the little extra. I have seen some new other G85 cameras go for less than $700. Plus the extra wait of the G85 will help a little with stabilization. Also, make sure you get the version 2 of the Lens Turbo... supposedly it’s a lot better and they’re still pretty cheap at $150. Also if you do consider going with native lenses, I’ve used the Olympus 17mm 1.8 and it is a damn nice lens. The manual focus clutch works well and makes it feel like a true manual focus lens. Supposedly, the 25mm is pretty good as well.

Okay, Metabones makes both a Canon and Nikon Speedbooster. Canon lenses need electronics to work the aperture. With modern Nikon lenses, known as Nikon G, the aperture can be controlled by a lever on the mount. So the Speedbooster only needs a ring that will turn to activate the lever. With Canon lenses there needs to be an electronic connection to work the adapter. Metabones is the only brand that makes an electronic Speedbooster for Canon. Well there may be another brand... aputure, but I don’t think it’s worth the cost... you may as well spend the little extra for Metabones or save a lot and go with the Lens Turbo. If you are used to lenses with a decent focus ring, then you may not like most native micro 4/3 lenses, unless you go with Olympus or Voigtländer.

@Kisaha I’m sorry but if screenwriting were easier than audio, then every Hollywood movie would be a great story. Yet every Hollywood has great sound. But I’m not here to say that one is easier or harder than the other, I also wasn’t saying that you’d have a robotic sound guy following you around on set.

No offense, but I don’t think you’re following this conversation. But great points...

I get it, you’re an audio guy, you don’t want to believe that in 5-10 years time, technology will make it a lot easier for no to low budget films to not need a sound guy. I’m a screenwriter first, so when I heard a script was written with AI, it kinda ticked me off too. As far as cleaning being used twice, sorry it was mistyped... I meant if you get a clean recording, (with a microphone close to your talent) you can raise it in post. Half of the dialogue in Hollywood movies are ADR’d anyway and the on location audio is used as a scratch track. And anyone who has worked on DIY/Backyard films knows you can record audio in camera, with good preamps, if you get the microphone close to the talent for a take or two... with the right microphone. But there are a few programs that can completely clean bad recordings as well... they’re used all the time in the record industry when transferring vinyl to digital and those same programs can be used for cleaning up wind noise and dialogue pops, amongst other issues. But as I wrote earlier, I was referring to the future when camera makers include a better audio set up inside the camera. Hell, for all we know, the Panasonic GH6 could have XLR inputs directly in the body of the camera. To add, I would say this is already happening... Fincher has been doing this for a few years now and I would assume that the next generation of filmmakers will have no issue at all working that way. Right or wrong, technology moves forward and artists embrace the possibilities that technology offers.

Well I’m not in dire need of another camera. I have my 5D3 and I just bought another RX10ii to mess around with for casual video and slow motion. For about two years I went back and forth testing camera after camera and with my limited coloring skills, I was never happy. Then the moment I picked up another camera, I remembered why I enjoyed making videos when I first got my t2i and eos-m. For me the convenience of the Canon system... their great ergonomics, great menus, great lenses, great color, amazing DPAF and then some 4K if I need it, is enough for me to be hopeful of their next generation of cameras.

Well 4K Raw is 3/4s of that camera. Plus when you add the middle codec, the low codec will only be 12% of the camera. But you may be right with the mjpeg... which I am fine with. I shoot ML Raw now, so big file sizes don’t make me squeamish plus the 400mbps Panny all-i codec produces similar sized video files but require more computer power to process... so yeah a S35mm 7D3 at less than 2 grand, and I just may be a customer.

Plus 10bit 4K 60p Raw is hardly crappy... you can’t even get that with the EVA1 in an h.264 codec.

Well eventually Canon needs to release 4K in their DSLRs with manageable file sizes... since the MP4 on the C200 records at 150mbps, I just assume it will be that. Also, on the Canon site, a middle codec is still listed as TBA, I assume that will be the missing link. Then you must really hate the FS5 then?

Crappy Raw? Oh...kay... name a better image for $6000?

Idk, not for only $500 more but I’m sure, when announced it will be an Oprah car giveaway around here... I was referring to this, or something similar to this. As you said, Magic Lantern has had this for years and regular Canon firmware has been doing it for awhile now as well by alternating two ISO values every frame or few frames. With Panasonic bringing HDR features into the GH5, I assume it would be related to that feature in some way. Dual ISO, or some sort of dual exposure maybe by using both card slots?

Well, if I remember correctly, the original 7D was kinda marketed towards video, so I wouldn’t be surprised. The question will be if they use mjpeg or mp4. It’s rumored to be announced in March/April right before NAB, so that would assume a May/June availability which would bring it right around two years after the 5D4 was announced... so a considerate jump wouldn’t be unheard of. And then there’s the FF mirrorless rumored to be announced by year’s end... so we’ll see. I would say that without a doubt, for the foreseeable future, the GH5/GH5s is king for video features alone.

I guess the a7s3 will have 4K 60p but since the a7r3 didn’t get it... then it’s quite possible the a7s won’t either. Most likely, if anything, it will export it.

Sorry but we’re talking about the state of cameras in 5 years from now. Oliver said that cameras will be so good that tech wont be an obstacle (I’m paraphrasing) and story will be the only factor. In some ways it is like that now, yes, but when these cameras are complete packages, with great AF and with usable internal sound, a Rebel will be more than enough, technically, for any kid to pick up the camera he/she got for Christmas and start shooting a movie the day after and only need to worry about telling a good story. Sure a kid could do that now, but they would need knowledge, skill and more equipment than just a camera and a external microphone... in 5 years... that may just be enough.

Yeah, if you insist on making a movie the same way that Hollywood does. But I’m talking about a kid grabbing a camera and making a movie, using creativity to work around and with current and future tech. Sound can be cleaned in post as long as you get a clean recording. What’s acceptable for a theatre release is completely different than what’s acceptable for online, and vod distribution. Hell, even Hollywood movies I watch on Netflix sound like shit... The point being that with a $300 DSLR, some creativity, and a great story, a kid... or anyone... could go out and make an amazing film.

@wolf33d I highly doubt the GH5s will have PDAF. And honestly, is a GH5 that much smaller than a DSLR? I assume the 7D3 will have the 8bit 150mbps 4K from the C200. And I doubt any camera maker, other than Panasonic, will have 10bit for a little while. For most work, 10bit is unnecessary. So if good AF were important to me, I would choose a camera that has DPAF or PDAF over 10bit color. Now I would love for the GH5s to have a ProRes or Raw option, but for the rumored price that seems unlikely as well. So far, everything I’ve seen from it looks stunning, so it will definitely make a lot of videographers very happy.

@wolf33d the 7D Mark iii will be out in the spring and you can have 4K and DPAF and you’ll be happy. And supposedly CLog Hell the 5D Mark IV’s 1080p is pretty clean up to 60p.

Honestly, it’s like that now. If you search GH5 on Vimeo, everything looks pretty good, but the ones that truly stand out, visually, are from the usual suspects that make any and every camera they pick up look good. But any of the creators will excel if they go out and make good content. The next huge indie film will be shot in 4K by some kid on his new 90D and the DPAF focus pulls will look like a Hollywood AC racked the focus. The tech is already there for what your envisioning it’ll just take a naive, but creative kid to go out and do it and not sit on forums like I do and talk about it. At this point the only real necessity is an upgrade in internal audio. Once these cameras have good preamps with a 3.5mm jack, the whole package is complete. The only camera I’ve used in the past five years that has decent internal audio is the RX10ii. And if Canon (or Panasonic or Sony, or whoever) fixes that, any kid with an idea can get a Rebel for Christmas and shoot a movie by the New Year... Hell I should do that this year with an 80D... Crap, it has shitty preamps... oh well, maybe next year.

Funny you mention that, for the hell of it, I tried importing a CDNG clip I made with Raw Magic and it did import the file... every single still.

@EthanAlexander I updated to High Sierra before I updated FCPX. I was tempted to try it without updating to High Sierra, though. One issue I did have is that one of my libraries that I normally have saved to an external drive, saved to my computer’s hard drive instead. Not sure why it happened. It was just my color test library so I ended up deleting it because it wouldn’t let me move it back to my hard drive and it took up too much space on my laptop. I assume it was a user error and when prompted to update my library I didn’t notice it wanted to save it to my MacBook. However, I never had an issue with any other update...

Haha... because I didn’t realize there was such a thing. Thanks. Found it... obviously. Okay this is better than the inspector method, but I still think it would be better as an option in the color tab.

Updated... Holy Crap... it runs so smooth. The color tab is so good now. I’ve been using the color board for a while, but I had to jump back and forth between the Color Board, Colorista IV and Color Finale and now there really is no need to... Everything can be done in the color tab. Since I’ve never used the Hue/Saturation curves in Resolve or Colorista, this is something I need to learn more about. However, I don’t love the way they implemented LUTS... going into Inspector first seems like an unnecessary step that could have been a subset of the color tab and I don’t like that you can’t control the strength of the LUT, but at least they have made it insanely simple to import LUTS. Again, if FCPX could just import CDNG files, then I would be completely satisfied.

That good? Great to know, maybe I’ll update everything today. Now if only FCPX would work with CDNG files, I could delete Resolve from my computer.

There’s a line from the classic baseball film, Bull Durham. In this particular scene, the veteran player on the team, Kevin Costner, is trying to convince the up and coming pitcher, Tim Robbins, that he needs to take his talent more seriously. Tim Robbins replies... “I have a Porsche with a Quadraphonic Blaupunkt.” Kevin Costner calmly states... “You don’t need a Quadraphonic Blaupunkt, you need a curve ball.” So as much as I see the positives in the GH5 and am constantly surprised by how many damn features the camera has... I wouldn’t need half of them, or more. If I was going to shoot small sensor, I’d rather shoot with some form of S16 digital sensor... be it with a BlackMagic or with a 1” sensor bridge camera. So everybody has different needs and wants.

Good to know, thanks.