mercer

@jonpais I guess it depends how important AF is to any particular indie filmmaker. I just think it’s a folly to go back and forth about which company cares about their customers more... when they all care about deep their pockets are. I think all filmmakers need to decide what features are important to them and then make a decision based on that. For me, 4K is st the bottom of the list, so 10bit 4K doesn’t even register on my radar. It’s a cool feature but it won’t make or break any film I ever make... at least anytime soon. I do like the IBIS and 10bit all-i 1080p and in future camera purchases, I will probably want DPAF because that is a feature that will help my level of productions. But I don’t think Canon developed it because they really care if I can track focus and then tap the screen to rack focus. So no Canon doesn’t make me feel warm and fuzzy on the inside as a company but I appreciate the effort that went into that specific feature.

Well I don’t necessarily believe Panasonic wants GH5 owners to buy an HDR television but they do need proof of content to sell HDR TVs to others and since little exists, it helps that the GH5 can record it. And I am not saying that Panasonic is some evil conglomerate that rubs their hands together as they decide what features to include or not include in their cameras, but I also wouldn’t romanticize the intent of Panasonic engineers as being in love with filmmaking and shooting with their future GH5. Either way it doesn’t matter... everybody wins... Panasonic releases a great camera. They make money and filmmakers get great features for a low cost. I just find it hilarious that there is this idea that Panasonic is for the indie filmmaker but Canon or Nikon wants spit in our faces. They’re all about the bottom line and Panasonic chose Video features to reach theirs. Canon chose DPAF... etc...

Hmm... I don’t think anything I wrote above is negative of Panasonic or the GH5? But yeah we’re still buds, I just enjoy talking about cameras and watching what people can do with them. I may have seemed overly critical of the GH5, but in reality I was sooo close on multiple occasions of ordering one. I chose to go the ML Raw route after watching dozens upon dozens of videos. But the GH5 is an amazing camera that would benefit a lot of filmmakers and perhaps not the right choice for a lot of other filmmakers/videographers. With that being said, I wouldn’t recommend the 5D3 and ML Raw to most people either.

I did get a chance to mess around with his E-M10iii and there are a few quirks that are kinda silly. For instance, you have to go into the menu to change WB, the meter doesn’t show up on the screen in Video mode unless you hit the ISO button and then it will only be on screen until you’ve set ISO or dismiss the screen. Also the focus peaking is amazing but you have to keep pushing the button to enable it. The Muted Profile is really nice. I’d say the IBIS is better than GX85’s and the 17mm f/1.8 Olympus lens is awesome... it is so tiny and the manual clutch works great.

Oh well, it looks like we may have misinterpreted Luke’s news. After what Panasonic has already released with the GH5, I don’t see how anyone could expect anything more. But I will say that I don’t think it’s cynical at all to say that Panasonic made features available on their cameras to help sell televisions. It isn’t a bad thing, it’s business. Of course, Panasonic also knows their customers and understand that the GH series is a popular camera amongst video enthusiasts and indie filmmakers, so they include features like anamorphic, LUT loading, waveform monitor, shutter angle, etc... to solidify that customer base. I don’t think they include it out of the kindness of their hearts though. But they also add features like HDR(HLG?) which is an obvious attempt to get creators creating HDR content for future owners of their televisions. However, I do believe they’ve included 10bit video to help with their Log profile. And then they went a step above by adding the 400mbps all-i. So for whatever reasons, it still benefits the community, so it doesn’t really matter and if that forces Sony, Canon, Nikon, Fuji, and Olympus’ hand. Hell, maybe Pentax will be inspired to add more video features.

Is all-i h2.65 possible?

I guess it could also be some kind of straight 6K without Anamorphic mode or however that works. If we want to really speculate, the easiest way is to find out what the next big thing is on Panasonic televisions? Or who knows... maybe with all of the rumors of the soon to be announced FF mirrorless cameras by Canon and Nikon, that Panasonic has decided to release its own APS-C or FF mirrorless.

Unfortunately, I wasn’t joking all that much... I easily have 60 lenses. But probably more like 75. The sad part is that I bought lenses that I’ve never bought adapters for. I have some brand new Yashica lenses that I only took out of the box to look at. In the spring, I spent over an hour filing down the edges of an M43 to Micro 4/3 adapter so I could mount my Olympus FTL lenses onto the GX85 without filing down the dreaded pin on the mount. I then proceeded to never mount the lens onto a camera... LOL. And now I’m selling my set of Olympus M42 lenses... which is kind of sad because they were made with a smooth, declicked aperture ring... but I don’t use them, so they really gotta go.

I would be tempted, that’s for sure. I don’t think I would sell my 5D3 for it, but I may sell almost every lens and equipment I don’t really use for Raw and IBIS. But I am betting it is going to be ProRes or something else... perhaps a smaller crop if that’s possible with that sensor?

@kidzrevil I think you are definitely one of the people that could benefit from the extra 2 bits of color. So it may not be a bad idea at all. I also have a feeling, according to @Neumann Films recent teaser post, that the GH5 may be getting something more... if it’s Raw video... then I may have to buy one too. And if you go on eBay, Samy’s Camera, in LA, has some great prices on New Open Box models. By benefit, I mean utilize.

@kaylee that’s a better reply than mine, well said. No problem, after shooting FF Raw, it’s hard to even conceive going back to shooting aps-c... let alone something smaller. The GX85 is a fun little camera though. For the money ML Raw on the 5D Mark III, even in humble 1080p, is the most effortless, cinematic image around for $2000. The experimental builds for 3.5K Raw in 12bit crop mode is just icing on the cake.

To add, I’m sure someone will post for you to buy a GH5 and a Metabones speed booster for your Canon glass. And that is an option. But since you asked about the 5D4, I will say that there is a 4K crop and it is somewhere between 1.64 and 1.74 depending upon what site you read. This crop puts you just on the edge of the Super 35mm format but you may require wider lenses. Some aps-c Canon lenses will work if the shield is removed. Other lenses like the Sigma 18-35mm will work with no vignette... so some lens options open up. With the 3.5k ML Raw, the crop is similar to get constant recording... so that aspect is a wash. The problem with the C-Log on the 5D4 is that it is Canon installed, which means there is a chance that if the Magic Lantern team ever cracks the 5D4 for effortless 4K and plus Raw, it may not work with models that have C-Log. Good news is Canon Log is a great Log profile that really expands the dynamic range in an easy to grade Log profile. So if you’re only worried about today and not a hypothetical Magic Lantern 5D4, then Canon Log is a great profile. File sizes will be large with either choice so expect to buy some cards and hard drives. Good news is that CF cards aren’t horribly expensive and hard drives are cheap. Now with ML Raw you get a lot of other benefits like focus peaking and exposure tools. Although with the 5D4 and its DPAF you won’t need focus peaking. So I would say that you need to decide how much you need 4K? If you can get by with a majority of 1080p Raw and then some 3.5K for specific projects, then the 5D3 may be enough for you. But if you need 4K for everything, then the 5D4, 1DC, or if you can stretch it, a C200 may be your best bets. And I guess I’d be remiss not to mention the GH5 as an option. For the money... maybe even twice the money... it is an amazing camera. Good Luck.

It’s my understanding that the 3.5K Raw from the 5D3 isn’t a hundred percent refined yet, so for paid interviews it may not be your best bet, but I would have no problem using the 1080p Raw for paid gigs. I’m in the middle of shooting a short film in 1080p ML Raw and I couldn’t be happier. I’d take it over any consumer 4K any day of the week. With that being said, I am one of the few fans of the 5D4’s 4K on this site... I think it looks absolutely stunning and the Touch AF seems magical. But unless I had a client that asked for 4K, I would just shoot 1080p ML Raw. But since I am a hobbyist that shoots zero budget films... well working on my first zero budget film, I don’t have clients to answer to. Another thought would be a 1DC. In my opinion it is the best 4K image out there. The 5D4 is similar with the great AF, but the 1DC has that unquantifiable “mojo” I hear people talk about. But so does ML Raw. Hope that helps, but after rereading it... it may not have...

Do you have a link to your Arri color science, short film trailer?

Yeah for $200, it doesn’t look bad at all to get Cinema 4K. I’m fine with the IQ of the video you posted... looks fine on my phone. I would more be afraid of it not working. It doesn’t have the best of reviews.

Did you shoot and process any Raw from the C200? I’m thinking about renting one in the summer for a short film.

Thanks Alpicat... that looks real nice. I don’t know Resolve very well, but I may start to. Btw, I loved the 50D... it led me to sell all my other cameras and buy a 5D3.

You have the Soligor 35-70 2.8-3.5 in your arsenal? If so, would you give it a run on your beautiful Canon RAW beauty? No, I don’t have that one. I did have the Soligor 21mm a while back. They had a few really good lenses. I want to build three decent sets of lenses and I think I’ve narrowed it down to a set of Canon EF lenses for obvious reasons. The L glass is amazing... modern but with neutral character. I am also building an ai-s set of Nikkors. Right now I have the 35mm 1.4 and I am searching for an 85mm 1.4. I actually have a bunch of non-ai lenses but I want to sell and replace with the best ai-s versions I can find. And finally I am building a set of Super Multi Coated Takumars for that vintage look and b&w. I’ll keep a few random cool lenses, but 90% of them need to go.

I’m exaggerating a little... but not by much... sadly. Good news is, it’s a blast trying to sell a bunch of lenses nobody wants.

That looks great Juan. Will this work with CDNGs made from MLVs from the 5D3? I have found that most LogC workflows look beautiful with ML Raw.

@Zak Forsman nice set up, look forward to some video tests. Do you still shoot with the BMMCC? I imagine you’re planning a feature for the EVA1?

Yes, the GH5 is an amazing camera, but it’s still a consumer/prosumer camera in the cinema world, no matter the quality or features and to marry a $7500 lens to it seems a bit backwards, especially when you can get some used Super Speeds for a grand. And for every shooter that loves their GH5, I can find one that loves their a6500, or D750, or 5D4, or C100, or E-M1ii. With that said I actually like the anamorphic look a lot but they’ve always seemed more work than I want to get involved in. The single focus options are interesting. I’ve seen some great stuff with the SLR Magic and the Panasonic and for the GH5, they may make more sense? JMO. And the only reason I mentioned the other cameras was because you said you were interested in shooting Raw. Either way, I always enjoy the look of your videos. Just curious what you could do with other systems. For instance, your B&W Fuji Video is my personal favorite of your work. So as subjective as that is, your best work isn’t with the GH5 king.

Thank you, this is so well done. I love how you used practical, in camera effects for the scares. The zipper was brilliant. My only criticism is that I wish you used a different doll instead of Elmo because I think you could have a real winner with this short... similar to what happened with the Lights Out short, but due to legalities, the Elmo doll may hamper that. Either way, awesome work as usual.

@kidzrevil did you shoot with that set up during your GH4 days? Which old video was that?

So I found this video from the Anamorphic Store taken with a 5D2 and one of their custom single focus units. It looks pretty good on my phone...?