mercer

So, I’ve been using the histogram with ETTR Hint since I started shooting ML Raw and for the most part it’s been pretty good to me but during my most recent shoot, the exposure seemed off and perhaps too high. It was much harder for me to use my regular color workflow on the clips. Here are a few shots I did that turned out okay... Anyway I remember reading that most people like using the spot meter... or recommend it for the most accuracy? I had a few minutes today and I tried out the Histobar with clipping warning and even though I couldn’t see which color channels were clipping, I preferred that it was at the bottom of the screen compared to the Raw Histogram. Does anyone else use the Raw Histobar and do you have any pointers?

I get that, it seems like you already know your answer... crazy or not. I started with video and a t2i. I eventually bought an eos-m and for a good 2-3 years I was happy. And then I decided I needed 4K and since Canon is Canon, I had to look elsewhere. And after testing almost every brand of consumer 4K, my old eos-m videos were still amongst my favorite. I also had a D5500 for a while and that was the closest image I could find to the Canon as far as enjoyable colors, but it didn’t have IBIS and I still thought I needed 4K... so... Eventually while deciding I was going to buy a GH5, I came across a 5D3 ML Raw video and I was hooked... Everything I loved about the Canon colors yet in Raw video... So instead of going with the new, shiny camera with every feature I could ever need, I spent more on a 5 year old camera... and I haven’t looked back. Now I am just a hobbyist, so obviously you have to base your decision on other things, so selling off the D750 may make the most sense, but in the process you will probably miss those Nikon colors with every photo you process and every video you edit/grade. But if I was doing RE or event work, I would be primarily concerned with AF, so I would most likely buy a Canon 80D and do as much work as possible until I could afford a 5D4 or a 1DXii. Or I’d get an 80D and a C100ii and expand my business from two fronts. I would imagine a dedicated video camera could be a marketable package to potential clients?

Unsure, why this was quoted. This site acts funny sometimes. Anyway, I don’t know if you wrote this somewhere but what lenses do you own for either system or both? I still think the D850 may be the smartest investment for you, or a 5D IV if you’re interested in the Canon ecosystem at all.

If the C200 was Canon’s only cinema camera, then I may agree with you, but since they have multiple cameras for almost every budget level, then I have to disagree. The genius of the C200 is that it is at a good price point for two totally different budgets. If you have a large budget and want to work with Raw or if you have a low budget but have the time to invest in Raw.

The D750’s color is so effortless. I really think you will miss it. Yeah if you need a camera now or soon, I would definitely sell the D750 and buy the D850, if you can afford it. It has everything you need except IBIS... but you’ve been going without that for how long now? I had an A6500 last January, and I loved the 4K out of that camera, but I returned it because I got the dreaded overheating warning after shooting a dozen 10-30 second clips in 40 degree Fahrenheit weather. It didn’t shut off but I stopped filming after the warning popped up, then went home, boxed it up and sent it back. Of course, it’s better than the RX100 V I tested last December, that camera shut off after using the menu and no video recorded.

Hmm... I would do one of two things... especially since you have been weighing this decision for a while now.... 1. Keep the D750 and get a G85 or GX85 for handheld 4K when needed. @kidzrevil has shown what can be done with those small Panny 4K cameras. Or... 2. Since the D750 is due for a replacement within the next year or so, sell it now while you can make the most bank from it and then instead of the A6500 but a D850 instead. You’ll have D750 level 1080p with focus peaking, internal VR (although digital) and for those jobs where you need 4K, you have near 1DC level quality. If you can put the money together I would choose number 2. Thanks for reposting Mattias’ D750 video. It’s simply gorgeous. His color work is so good and effortless. Now I want a D750... thanks...

@kidzrevil do you mean the E-M10 Mark iii... which is a barebones $650 camera comparable to the GX85. The E-M1 Mark II is their $2000 (although there’s a big Olympus sale now that has $200 off the E-M1 Mark II and Samy’s Camera has a couple New Open Box models for $1599) and that model has the 5.5 stops. 237mbps Cinema 4K plus a 202mbps All-I 1080p... Olympus’ nomenclature is so damn confusing. But honestly I’m not sure. It is a 2x crop so I assume it would be, but I’ve never used a speed booster before, so I am only guessing from what I’ve read.

Yeah Fuji is nice. I read Noam Kroll’s blog and although he shoots mostly with cinema cameras now, this past summer when he decided to get a dslr/mirrorless, he went with the X-T2 over the GH5. The G9 seems okay. I still think the GH5 makes more sense since they’re essentially the same price now. But I understand you’re reasoning behind the G9. My friend picked up his first 4K camera the other day, the E-M10 Mark iii and even with its measley 4 stops of IBIS, I found it better than the GX85’s. And the color was fantastic... so organic. The E-M1 Mark II has 5.5 stops, so that camera will probably have IBIS as good, or better than the advertised 6.5 of the G9. Olympus IBIS is pure insanity. I saw a video from it and it looked like steadicam footage even while walking. These cameras are crazy now. As you know I love my 5D3 but I am contemplating a cheap Olympus or Fuji. Even the 1080p out of the E-M10 Mark II looks pretty damn good and for $400 would be perfect for the hybrid hobby use I want a second camera for.

Damn Jon, put away that GH5 for a little while and pick up that X-T2. That Acros looks epic. If you throw on a little grain it will look like early press footage from the Vietnam War. Also please test out some 1080p ProRes F-Log with your BlackMagic Video Assist. I’ve been looking for a second camera... maybe I should have a second look at the X-T20. Acros and Takumar lenses could be a killer combo.

Man, watching that comparison makes me want the C200 even more. But the A6500 is a great camera.

Has anyone ever used the Canon L 100mm f/2.8 macro lens with IS?

Here’s my horrible Voigtlander 25mm 0.95 video shot wide open. This was shot with a BMMCC, a truly unremarkable camera and lens combo, unfortunately... This really sucks so be forewarned...

Total different arena. The Fujis have drastically different body styles and their larger sensor equates to more users, so they can make multiple models to cater to different types of shooters. Is there that large of a Panasonic still shooter user base? Panasonic really seemed to be cornering the Hybrid shooter market but I just don’t see how two cameras at the same price point makes much sense. The more you get with the GH5 vs the G9 is insane for the same amount of money, so I agree a videographer won’t get a G9 instead of a GH5, but a micro 4/3 photographer may get a GH5 instead of a G9. If the G9 had cost $1000 to $1400, some shooters may have bought both. At $1700, Panasonic is solely going for the Micro 4/3 photographer that may shoot a very little amount of video but is there anything a Panasonic stills camera can do better than an Olympus? The pricing and the concept seems neither here nor there. IMO. But that’s why they make vanilla and chocolate. And I’m sure it will be a great camera.

And that’s what doesn’t make sense about the G9... why in the world do they want to compete against their own camera... they’ve priced it so now they’re not only competing against the E-M1 Mark II but also the GH5? Huh?

About 7 or 8 years ago my friend directed a short film about astral projection that had an out of body experience shot. The shot was a much smaller scaled shot than you’re proposing but he filmed The Nightwalker with an HV20 using practical effects and simple superimpose effects from FCP7. I actually played the silent lead in the film. Actually, I think he made it 12+ years ago on a Sony miniDV camera, which means he probably edited it on iMovie.

That’s the question... if you’re a pro, small format photographer (oxymoron?) do you choose a G9 over the E-M1 Mark II?

True, I guess if you’re a photographer first that’s invested in the m4/3rds system, then the video features are an added bonus and more than enough for most events or hybrid use. But are the photography elements so much better than what the GH5 offers?

Between the E-M1 Mark II and the next E-M5, I don’t see how they compete with Olympus. The price gap between the GX85 and the G9 is too big.

Yeah WTF is this? $1700 and it doesn’t even have the 200mbps 1080p?!?! The pricing of their camera lines make no sense. This is a $1200 camera at best.

I predict a GH35... everything you love about the GH5 but with a S35mm sensor and EF mount.

Gorgeous work, cantsin!!! The EF Mount BMCC may just be one of the best deals around. Cool song too!!!

The touchscreen DPAF works with the 70D and ML Raw, so it probably would. And yeah, I saw that screen on Canon Rumors a while back... it looks interesting.

Really nice looking. I watched it on my phone so I can’t tell... was it shot in 4K? It actually reminds me a little of BMMCC footage I took a while back with Jon Voigtlander 25mm.

Which is probably why Canon offered CLog with the 5Div but you have to send it in to get it or buy a new one that already has it installed. If I ever buy a 5Div, I would not buy the CLog version just in case ML ever cracks it and we can get 10-12bit, 5-6K Raw.

That sounds perfect, it’s quite possible Backbone Ribcage will have an RX0 version soon.