mercer

While I agree that new locations are always a good thing, I’m sure if you lessened your rig, you would gain access to your usual haunts and can get in and out of other questionable locations without notice. That is one of the beauties of DSLR filmmaking and especially the GH5 with its IBIS. You’re not on a Hollywood set, don’t shoot like you are. But I also agree with @anonim ... your work has been stellar lately. I’d love to see a short film, shot handheld, with one of those Veydra lenses... or the Sigma. Keep it simple... small story, one lens and the GH5.

Yeah the timing of this is too odd to be a completely new camera without an upgrade path for current GH5 owners... especially if the rumored price of $2499 is accurate. A new camera that beats the GH5 for only $500 more, this soon after release, is something Sony would do, and get blasted for doing so.

I think hyalinejim may have already posted this but here it is again for any ML Raw users who want to give it a go...

So you’re saying the new GH5 will shoot in ProRes... lol. I’m starting to think that the new GH5 will be called the GH5+. It will use the same sensor with a few changes to the body as noted, but the big changes are firmware related. I also think the GH5+ will sell at a higher price point and receive a few bells and whistles more but any current GH5 owners will have access to the FW upgrades via a paid update.

That looks pretty good. I could never find a consistent method to get rid of the pink dots on the eos-m. I just posted a screenshot, on the BM thread, that @hyalinejim sent to me a few months back. @Juan Melara ‘s method seems similar except with hyalinejim’s method you set it up in the settings as opposed to the color panel. For some reason I could never get hyalinejim’s method to work because one of the options were greyed out... I don’t know if I was doing something wrong or if the version of Resolve I’m running doesn’t offer it... it’s probably me. Anyway, I’ve always loved the LogC look with ML Raw and find it grades so nicely with simple Arri to Rec709 LUTS... so any method to get me there is welcomed. Here’s a screengrab from a recent shoot using Juan’s method.

So I was messing around with this linear idea and I remembered that @hyalinejim sent me a similar suggestion that he set up in the settings. Unfortunately, one of the options I couldn’t find on my version of Resolve... I think I’m using 12. Anyway there’s a screenshot of his settings at the bottom of this post in case it’s helpful to @Juan Melara or someone else... It seems similar in concept but I am barely a layman at this kind of stuff. Since I can’t seem to figure out how to set up hyalinejim’s approach in the settings, I used Juan’s approach on another of my silhouette shots... And to be clear that’s a CDNG created from a 5D3 ML Raw clip. And here is a screenshot that hyalinejim supplied to me for an Arri LogC conversion using linear.

Well this site doesn’t like tifs... especially from screengrabs of Raw footage...

@sam rides a mtb maybe and that would be exciting but it seems one of the consistent rumors is the price... $2499. I don’t see a S35mm GH Camera at that price.

No problem @cindy6 you mentioned the Voigt, so I figured mf didn’t matter to you.

@cindy6 have you considered the Rokinon/Samyang 16mm in M4/3rds? If you want to go really wide, the Rokinon/Samyang 12mm will probably cover the S35mm sensor as well since the same lens is made for Sony, Fuji and EOS-M. I just checked and according to BH, the Rokinon 12mm Cine Lens will cover aps-c sensors.

I predict that either Sony or Panasonic will not be in the consumer/prosumer hybrid camera business by 2023. And if they are, the video features will stall at the jump from 4K resolution to 6K or 8K... whichever the next big leap is.

Yeah, I think it’s sharper than a Rebel... without a doubt. I actually think the D5500 is plenty sharp enough. But I also think a Rebel can be sharp enough for most jobs as well. If not a Rebel, definitely an 80D and the 7D2... especially for close ups.

@Inazuma it’s no secret how much I loved the D5500. It was, without a doubt, the best 1080p video I have ever used... not including a camera that shoots ProRes or Raw... and I actually found it rather sharp. It’s not Panasonic, Sony or Samsung 4K resolution “sharp” but I wouldn’t call it soft. Of course, I tend to like softer video, so that could be subjective. @gethin before I bought the D5500 I was shooting with the G7 and I thought the Nikon beat the G7 hands down with DR and IQ. It was an instance where color science and dynamic range beat resolution. So although I have warmed up to the GH5 and its capabilities, I am not at all surprised that you like the D5500 image better on some level. Also I have heard and seen nothing but great things with the D850. Obviously, I can’t speak for Andrew Reid, but he seemed pretty excited by it, maybe even more so than he was by the GH5... that could be based on him being more surprised by the D850. Plus the higher end Nikon cameras offer zebras so that’s a benefit and the D850 has focus peaking in 1080p. And although I don’t know if this is easy, but it may be possible to quickly switch to 1080p, or hit record from a 16:9 Photo mode, for the focus peaking. Obviously, you’d lose it once you’re recording 4K, but I guess it’s better than nothing. I have been on a 6 month search for a second camera and now that I’ve learned the D3400 has the Flat Profile and is so damn cheap, it’s definitely in the running... there’s just something about that Nikon image.

I hear ya, I have a project coming up that requires a small footprint and a quick turnaround. I had the RX10ii last year and actually really liked the camera. I fell into the mire of over adjusting every sLog2 setting in the camera and then needed the extra cash for my 5D3, so I sold it. But for this project it could be perfect. It’s in B&W, so I think sLog2 with B&W color could be a great combo, add the S16 aesthetic and it may be a winner. The project is still up in the air though, so I’m just musing possibilities right now. And I’m still trying to make my 5D3 work for it by testing Quick post/color workflows. I bought it from the rainbow imaging US eBay store, but it is the Fotasy Brand... see below.

If I remember correctly, only the Rainbow Imaging C-M4/3 works with that lens without modification.

A short focus throw doesn’t bother me, I actually prefer it for the same reasons @Mattias Burling mentioned. I even sold all of my non-ai and ai glass and replaced them with ai-s versions for the shorter focus throw. I do like focus pulls but if I need a little longer of a throw, a simple focus lever or zip tie will add a little. @cantsin I had the 12mm Cine Rokinon last year and really liked the lens and with the crop factor of the Pocket, it does give a nice 35mm FOV but if I do end up wanting a second lens, the only other small option, in that line up, is the 21mm and I would probably want something a little longer. So I was thinking the 17mm Olympus might be a good choice with its manual clutch, standard FOV, and electrical contacts... plus the possibility to get the 12-50mm zoom if I really need some more range. So basically the 17mm would live on the Pocket and the zoom would stay in my bag, just in case. And after looking at a ton of BMPCC videos, Olympus lenses and the Pocket seem to be a nice combo. But to be fair, I have also seen some nice work done with the Panny 14mm and the 20mm. But if I were to go the Panny route, I would choose the 14mm due to the pocket’s crop factor, so then the 20mm doesn’t make sense because it won’t be long enough for the two lens set up I’d inevitably want. Also I already have a set of the zebra f/1.9 Cosmicar c-mount lenses, so I have a 12.5, 25, 50 and 75mm if I want to go full on manual. I also have the Fujinon 12.5mm and 25mm c-mounts. But again I am just in the consideration phase right now. I’ve owned both the Pocket and the Micro in the past and ended up selling them because I felt I wasn’t a good enough colorist to pull the mojo out of the images. But now I’m thinking that maybe the Pocket is the best way to go for my mess around camera to get better at it. Plus since I’m an FCPX user, the ability to shoot ProRes and edit natively with the files sounds pretty appealing. So basically I would use the 5D3 for most of my work and then for fun, short mood pieces, I would pull out the Pocket. Haha, but I’ll probably change my mind in a few hours and want an RX10ii or FZ2500 for ease of use and to not have to mess around with lenses.

All fair points, but the only native m4/3 lenses I’ve ever owned were the Sigma 19 and 30mm f/2.8 lenses and although they were both sharp, I couldn’t stand the fly by wire. The Olympus 17mm 1.8 is in a different league compared to those two. And compared to Canon L glass they all seemed like toys. But the point of the 17mm 1.8 and the Pocket is to make the Pocket pocketable. The kind of stuff I am working on requires complete and total anonymity. I need to look like a tourist. So the smaller the footprint, the better. The Veydras would stick out like a sore thumb. Some small native micro 4/3 or some vintage c-mounts would keep the set up small. But everytime I think about a second camera, I end up looking at some footage from my 5D3 and I forget all about it. I could make an entire film with just my 24-70mm and be happy. In the end, when I do decide on a second camera, it will probably be some type of point and shoot or bridge cam like the FZ2500 or the RX10ii... if I have to buy lenses, I’d rather spend the money on FF lenses for my 5D3. I’d really love another XC10 but I’m not sure I can find one for the right price.

My friend just bought the 17mm 1.8 and I had a chance to mess around with it the other day. Beautiful lens, love the clutch. So can only imagine how the Pro models are. After seeing how nice the Olympus lenses are, I’m looking for a reason to buy back into m4/3... I may have to buy another Pocket or Micro.

Has anyone tested the 10bit 1080p? I loved the 8bit variant on the FZ2500 so I am really interested in hearing how it is on the GH5.

Panny, I know you’re looking for that 3 CCDs Magic but have you ever used a BMPCC? I think that would be a camera you might love. Throw some old c-mount primes or even the Panny 14mm or 20mm and keep the thing pocketable and you would probably have a blast with that footage in post.

Yeah it is pretty much fact that Fuji has a better color science.

There’s a video floating around, I think Driftwood may have done it, but he tested a bunch of variable NDs and although it doesn’t compare quality wise to a Heliopan or Tiffen, it scored very high for neutral color and it is one of the few that has hard stops at each end so you don’t get the dreaded X pattern popping up in you footage. They say you may take a sharpness hit but it hasn’t bothered me yet. I shot this with the 5D3 and ML Raw with the 24-70mm f/4 lens wide open and the Bower ND and it seems sharp enough to me... And here’s one from the Nikkor 35mm f/2 ai-s lens, shot wide open with Bower variable ND... They’re cheap enough, so if you scratch it or drop it, like I’ve done, just buy a new one. I’m shooting my film down the shore, so with the salt air and mist, I am constantly cleaning my filter, inevitably it gets cleaning marks. Anyway for the price they’re worth a try and Adorama has a good return policy if you don’t like it.

Yeah maybe with the new sensor you’ll be able to shoot VLog at ISO 100... which could be the significance of the close up robot sky shot that Luke shared. Which will also probably mean that you will be able to bake in LUTS.

Yeah, Max... this is truly beautiful work!!! And this is the perfect example why Canon is a great choice. In the first few shots when you followed the lead actor, the Tracking was right on. With the depth of field, I assume you used the 85mm for that shot as well? Damn, I so want a C200. How was the post workflow? I just started shooting ML Raw on a 5D3, and now I can’t wait to make that my B-Cam.

That’s true and I guess VLog will be free instead of an add on. Since we’re speculating, I would love for Panasonic to release a GH5b that only offers 10bit 1080p 200mbps all-i up to 72fps, and IBIS. I don’t need VLog or any AF, I’ll take the waveform and the shutter angle feature all in a metal body the size of the G85. Make it a 12MP sensor for $1000 to $1200 and I’m a buyer. I assume I’ll see a Canon Rebel with 4K before I’ll see that camera... so probably never. And I guess I wouldn’t mind some anamorphic too. May as well.