mercer

Interesting. Do you know if the camera downscaled it like the GH4 does, or does the BM downscale it... not that it matters, just curious. Love that thick ProRes image. I've been thinking about getting my 2nd E-M5 Mark ii and in the future pairing it with a Ninja Star for ProRes. Or maybe even my 3rd FZ2500 with a Ninja Star. LOL. I test and return too many cameras... ugh.

Looks nice, great color. Did you shoot it in 1080p?

Yes, I think the 25mm will. The 16mm may as well, but I can't say for certain. I know 1" c-mount will have more wide angle coverage. I was getting full coverage with a 12.5mm Fujinon on the G7 and GX85.

Damn, I only watched these on my phone, but they look damn good. I think I am definitely leaning towards the Olympus.

This looks great... what lens did you use?

The 25mm Zeiss Tevidon should but you'll probably need to purchase a new mounting plate so the lens will fit in a c-mount adapter. They're readily available on eBay.

Well the lens isn't nearly as well regarded as the 18-35mm but I borrowed a friend's and used it with my D5500 last year and I was pleasantly surprised by it. I thought it was pretty sharp, has a little character and the OIS worked surprisingly well. I've seen a few handheld videos on Vimeo paired with the Pocket. It seemed to fair pretty well to me. Here's a video I found on YouTube and the guy used the combo with a simple Benro Monopod...

I'm narrowing down my choices for a 2nd camera. Right now, it's between two cameras... e-m5 Mark ii or the A7ii. I have decided I definitely want some form of IBIS and I have really enjoyed the humble images coming from both of these cameras. The second cam will be used for casual, family videos and the occasional micro short film and these two cameras seem like capable underdogs and that intrigues me a lot. So, although I already have too many lenses, I am thinking of different lens alternatives I've never considered. I've never owned an SLR Magic lens but I've seen some great stuff shot with them. 17mm on Micro 4/3 is a nice street shooter focal length, but BH has it listed for BMPCC and states it may not work with other Micro 4/3 cameras. Last year I had the 25mm Voigtlander and it was one of the nicest lenses I've ever used, so I'd love to get the 17.5mm Voigtlander but I really cannot justify the $800 price tag. Of course I tend to watch a lot of videos and muse over different cameras on Sunday afternoons, so my choices may change completely in a few days or weeks... or even a few hours. Lol.

Does anyone know how much the SLR Magic 17mm lens for the BMPCC will vignette on regular 2X crop M4/3 cameras? If not much, will a 2:35 letterbox cover the vignette?

Looks good... that guy really likes his sweaters.

I assume you're inquiring for a Pocket cam? If so, and you're using the BMPCC Metabones speedbooster, have you considered the Sigma 17-50mm f2.8? In EF mount, with the speedbooster, you'll have a nice range that's smaller, lighter with OIS. And I guess it would be a... 1.6?

Yes, I understand this one wasn't written for my productions, but it is a very interesting read nonetheless and I appreciate you taking the time for a couple tips... I learned a ton just from your reply. Thanks!!! To add, I have been using the Rode Micro on camera for ambient sound and as a scratch track and using the Olympus LS7 field recorders for a pocket lav recording but I am thinking about selling them and going with the Tascam 10L for the safety track. But I also noticed that Tascam sells a small XLR recorder that attaches to the back of a microphone... the DR-10X. Would something like that, or another brand, be useful to attach to an NTG to keep the setup as compact and cord free as possible, or is the quality just too low?

Yeah I think that is rolling shutter but I think it looks exaggerated due to the speed ramp?

Yeah I have it for either Pentax PK of Olympus OM... I forget. But either way, it can be adapted. I have a beat up copy of the Rokkor 24-50mm f/4. Decent lens. I prefer the 24-35mm.

How do you like that 25-50mm? Like you, I have both that lens and the 24-40mm but I like the 24-40mm better.

Up thread you mentioned that 1080p from the GX80 isn't as good as the 1080p from your G6... why is that? Don't they share the same avchd codec and bitrate? As far as the GH5 is concerned, maybe the FW update will be released by then and you can shoot in 1080p 10bit all-i at 200mbps in 24p and 60p. As of now, I don't think the 1080p is 10bit... but I could be wrong. CineLikeD is pretty simple, it seems exposing anywhere between -1/2 stop to +1/2 stop, depending on your shot, yields good results. I'm sure with a couple hours of tests, you'll work it out fairly quickly. Btw, I know Panny is in your name and all, but if you get a chance, you should test out the Olympus E-M5 Mark ii. It has better IBIS than the GX80 and a solid all-i mov codec in 1080p. The colors seem more organic than Panasonic as well... but I only had one for an afternoon. @PannySVHS

I say rent the GH5... with your color skills, you could probably get a ton out of a GH5. Also, with it being the new, hip camera, the GH5 could help to eek out some views. good luck with it, I love vampire stories.

Yeah, if BM dropped the price to $500, I would buy my 3rd Pocket and keep it this time. Or maybe a Micro summer price drop would be nice.

Yeah, unfortunately and probably stupidly, I will go for smaller and discrete every day of the week over large and cumbersome, but I am shooting literal no budget films, where I don't have a sound guy. It needs to be simple and small, something I can attach to an L-Bracket with a small shotgun but can also do double duty as a pocket recorder for a lav. I started with an H1, but found it to be poorly built and not really that small, so I ended up with 2 Olympus LS7 field recorders. I'm sure they aren't the best but for what I need they work pretty well and the onboard mic is actually pretty good for foley and ambient sound... probably because they are marketed towards nature recordings. I am interested in the Tascam 10L recorders... they seems to be a great size with decent specs... how are they rated on the Ironfilm scale? But this is a great article and something to think about as I grow equipment... thanks for posting it.

Yeah the look he gets is very subtle, but very organic. I only watched his 5D3 videos, but now I have to watch his GH4 videos as well.

I just started following him a couple weeks ago. He has some great 5D3 footage and this one looks great as well. He really captures a late 70s/early 80s NYC film look with his videos. I love the slow dolly in he does in that video. Are you still using a GH3, or have you upgraded to a GH4 or GH5 now? It seems like the GH4 could be a great deal as the prices drop.

At the time I had the Minolta MD 28mm f2 and the Nikkor ai-s 28mm f2. Since going with the 5D3, I sold the Minolta. It was a heart wrenching sale, but I lack a camera to use it with so it helped to offset the cost of the Canon EF 35mm f2.

I had that lens for a second or two. I liked it, but I already had two 28mm f2 lenses so it seemed kinda redundant.

I recently used the 14-45mm with the BMPCC and it worked fairly well for an inexpensive lens, but it is more like a 40-130mm. Here's a quick test I did with this lens handheld. It's boring and the color work is... meh... but it should give you an idea of how stable the OIS is. There's also the 14-42mm PZ lens which is interesting because when used with a small LANC controller, you can get a power zoom with the BMPCC, for smooth zooms, if that interests you.

I think this is very interesting and thankfully there are filmmakers like you willing to figure out the intricacies for other filmmakers to benefit from. The term rabbit hole has been used on a few occasions in this thread and I would think at every turn or discovery, you will go further down it. Since you're a Sony user, obviously sLog is the choice of Log you are using for this experiment, but with all of the customizations available with sLog, to be truly accurate, you will have to go further and further down that hole. @Geoff CB came upon excellent settings for sLog2 with his GFilm and then there's the sLog2 Flaat settings that are also very good, so there are already tweaked sLog2 settings that help to deliver both maximum DR and color fidelity. To test every single variation against Rec709 seems like a daunting task. Perhaps discovering the best, possible out of camera settings for dynamic range and color information in 8bit sLog2 would be a great place to start, before comparing it to Rec709?