mercer

Interesting... would love to see a screengrab if you have one?

Yeah, I’ve described the 5D3 as a point and shoot cinema camera... especially since I have been shooting handheld with it with my Canon IS lenses. I’ve been working on a project since April. It was originally intended as a short film designed to get my feet wet with ML Raw, but then I’ve been getting such good footage, it has grown into something more. Here are a few screengrabs from it... Since this project may just end up as an impromptu feature, I’m currently writing some micro short film scripts to shoot in between. I’m hoping to get 60p working and it will be the ultimate camera for my needs. Btw, I really enjoyed you Last Day of Summer short. You obviously have a firm grasp of cinema.

Yeah 67 seems slow. I was getting more that that with the 50D. With the same cards, from BH, I am getting between 85 and 98.

Yeah, I understand glass is jargon for lenses but I guess my confusion lies with phrases like the “Leica Look” and since their lenses are revered like Zeiss lenses are and since Zeiss makes their own glass, or made their own glass, I assumed that the Leica look was attributed to their own glass. It seems some of the higher end manufacturers use Schott Glass now and Schott may use some of the recipes that the client, in this case Leica, used to use. Interesting.

Well, hopefully now that Saudi Arabia realizes that women, over 30, are capable of driving in the daylight, they will influence Nikon to have a woman photographer in their group photo at a camera event #FStop #TheFisForFemale

Strangely, I just started watching some of your shorts on Vimeo a few days ago. Really nice work. As a new 5D3 ML Raw user, your work is definitely inspiring and makes me want to shoot more short films. In fact, that has been the biggest thing I’ve noticed since getting the 5D3... I just want to keep working on projects. I care a lot less about overthinking gear choices since I bought it.

Leica doesn’t make their own glass for their lenses?

Yeah I get it, I just believe that conversations sometime evolve and great information can be had from that evolution... so I guess I just don’t see the big deal if a side conversation occurs. But it’s not my forum, just my opinion.

Did reading that reply confuse you and leave you unable to follow the rest of the thread? ?

There may not be that much of a difference and certainly if you cannot tell the difference, then why bother with the data heavy 400Mbps. Honestly, this is the reason I got away from 4K in general. I would always transcode and downscale any 4K Footage I shot to 1080p in EditReady before I ever brought it into FCPX, so I was losing a lot of the benefits of 4K with my workflow. I didn’t want to edit with proxies as I am not that organized and my computer cannot cleanly play back 4K files. Once I started shooting with good HD, I rarely noticed any major difference between the two. And since I am not a good colorist, I found it a lot easier to get a “cinematic” (I know that can be a bad word around here) image with 1080p footage. YMMV.

I’m sure you can sell them on this board and recoup 3/4 of that money. But did you test it with True 24p and not 23.976? The combination of All-I and 24p could make a discernible difference. @jonpais Also MOV or MP4? Also @jonpais since you already have the Veydras and a Voigtlander or two and the Video Assist... goddamnit... just go and buy a BMMCC and shoot some Raw video. Raw 60p is some serious video. Sorry to the OP for the OT.

Gotcha. If you’re worried about the contrast, I’m sure a simple hood would be plenty good enough. I did notice some sway in the shots, good to know that was due to the IS lock setting. And yeah, external ProRes vs internal 200mbps 10bit 1080 would be awesome. As hard as I’ve been on the GH5, obviously I have a brain, so I am intrigued. I also think with your pairing of the Video Assist with the GH5 for Focus reasons, it may really behoove you to export to ProRes anyway. I guess the next question would be... export 4K to ProRes, or just the good old fashioned 1080p? I wonder how much of a quality difference there would be?

Between this comment and your decision to shoot with the Long GOP, it may make more sense for you to just record ProRes on your Video Assist. I believe the GH5 does an internal downscale of 4K to 1080p like the GH4 did. That way you can get the higher bitrate, easily editable ProRes on cheaper media?

Looking nice Jon... unsure if a matte box would have made that much of a difference. If you get a few minutes can you do a side by side between the G85 and the GH5 with a Veydra lens? And if you’re feeling really generous, I would love to see a side by side of the external ProRes on the G85 vs the internal GH5 video.

@kidzrevil please update with how you like it. I was quite fond of the camera when I had it. And I would have kept it if I didn’t get the overheating warning in 40-45 degree weather after shooting a half a dozen 20 second clips. It never shut down, but it scared the crap out of me. I loved sLog3 and sgamut3cinema (or whatever it’s called) I felt that it had the closest look to Raw from any compressed video footage I had seen or used prior to it.

Ain’t that the truth. I am in no place to tell someone how to spend their money, god knows I’ve spent a small fortune of my own but as a hobbyist that is also interested in the conveniences of cinema cameras, I cannot rightly say that I could ever justify a $4500 price tag just to have 4K, when the majority of viewers will never see the benefits. In my opinion, if Arri hasn’t felt the need to release a 4K camera, then I don’t see why anybody on here really NEEDS one. So with that being said I feel the OP should get whatever he wants for whatever reason he wants, but I would still suggest either an F3, a C100ii or C300 or I guess an LS300 or FS5 if he really wants a 4K camera. And if he wants one on the cheap then get an LS300 but he should be fully aware of the build quality before just hitting buy it now.

Well, now that you have added 4K to your list and $4500 cap, then it seems an Ursa 4.6 or FS5 may be the way to go. But you will need a little more accessories for the Ursa. What are you shooting with now? And what are you planning to shoot with the cinema camera?

Not necessarily, even if Leica outsourced the design to Sigma, they are most likely using Leica glass and materials... so... It’s like the Leica 35-70mm f/3.5 that was a Minolta design with Leica glass.

Cool set up and great idea. Nice looking footage too.

I don’t know, I would say they’re comparable or actually Canon is better because they’re at least consistent. Plus every single model when updated, gets DPAF. It’s arguable that Canon’s DPAF is a comparable feature to Panasonic’s 4K 10bit because both are very desirable video features and the most important feature either company offers. Of course, I don’t think you can expect Panasonic to give everything and the kitchen sink, but the G and GX models should at least get a higher bitrate 1080p. But I guess 1080p doesn’t sell 4K TVs? Hell, there has been numerous replies regarding many GH5 users planning on purchasing HDR televisions due to the GH5 firmware update. And I would guess that the G series gets HDR before it gets high bitrate, all-i 1080p.

Maybe the Sony F3? And the FS5 could give you a little future proofing if you want to shoot 4K or Raw in the future. A C100 Mk ii could be good as well if you ever invest in EF lenses and want to use DPAF in the future.

I’ve been watching some C200 videos on Vimeo now that the camera has been out in the wild for a little while. So I figured I’d link to a few that look pretty good. Actually every one I’ve seen looks pretty good. Wish I had an extra 6 grand lying around. Here’s another with some lowlight footage...

Interesting... those 5 extra degrees made a difference? Did you test that on the Micro, when you had it, with similar results?

It is my understanding that there is little money to be made from zero budget features. It may lead to a bigger budget for subsequent films but often the creator is forced to self-distribute their first film. We already know that production companies are always looking for material and talent. They even comb YouTube, Vimeo, maybe even the Shooting section of this site. Writers and stories are discovered on Creepy Pasta as Kaylee mentioned earlier. I may have not written, “Creepy Pasta BS” but I guess that’s debatable. The point is that many people will argue that a web series could be way more beneficial to get your name out there than a feature would. And I don’t think Kaylee is planning on having any budget, so cost is probably not really a concern. A bigger concern/question is... how do you get the project seen? How do you publicize it so you’re not just uploading it to YouTube and hoping for the best? This is where money should be spent with banner ads and paid reviews at micro budget film sites. But I do agree shorter is better... my gut tells me 10-13 episodes at around 3-5 minutes a piece and the timing of release is probably critical as well.

But to add, and more to the point, the 3 act structure is not dead. It is inherent in all storytelling. You cannot tell a story without a beginning, middle and end. They don’t have to be in that order, but it is a fabric of any well written story. It lives in every movie, it lives in every act, in every sequence and every scene. A writer can choose to use one act, two acts, three, five, ten, 20 acts, to structure(verb) their story, but in the end it will always be a three act structure(noun).