mercer

Are you getting 60fps at 10bit or 12bit? Is it continuous? And finally, do you know if there is any way to set shutter to 180 degree shutter angle instead of shutter speed? Or is there a way to save multiple settings?

Yup, Nikon is one of the most fun little cameras to shoot with, but not a lot of people realize it. It has its quirks, but you get used to them fairly quickly. If you're content, then maybe a new lens is in order instead of a new camera? I've posted this before, but this was all handheld with my D5500, a 28mm f/2 lens and I just used my Benro Monopod with the ball loose and the feet pressed against my shoulder. I think a simple shoulder pod or something would work better but having that extra point of contact was helpful. I think Edelkrone makes a Pocket Rig that is real small that has a chest/shoulder pad. It's kinda long and boring, so you can just scrub through it in a few spots to see the steadiness... of course it helps that I shot it in 60p as well.

Looks cool! Gotta love those Nikon colors. Btw, I didn't forget about the GX85 vs D5500 video... honestly I was bored by it. Simply put, the IBIS is good with the GX85, way better than I was able to get handheld with D5500. The GX85 has a more perceived sharpness by downscaling the 4K to 1080p ProRes before I brought it into FCPX but I also converted the Nikon footage to ProRes as well and it took the same amount of time to convert 45-50 Nikon h.264 files to ProRes as it did to downscale 4 4K GX85 to 1080p ProRes. Also, the Nikon files were easier to get a pleasing, simple correction/grade with and in the end, the colors looked better. So, if you want IBIS and 4K, get a GX85... if you want better colors and small files and really good 1080p... keep your Nikon, or upgrade to the D5500 for the Flat Profile. If you want the best of both worlds... minus the 4K... maybe look at the Olympus e-m5 mk ii.

Kaylee, thanks for the link. Jon, it should be there.

I'd like to try ACR. I only recently bought a 5D3 and went right into shooting a film with it. So I have only been using one method/settings for most of my footage, which comincides with the workflow from that WW2 reenactment video I posted earlier. I use the same method he used in that video. Just do a search of ML Raw Footage App and you should find it on the ML Forum.

I use Raw Magic and Resolve mostly. I also like MLRawViewer and process them to ProRes as pseudo Arri LogC but it doesn't always work with Sierra. The new Footage App is pretty good too and with it you can go right from MLV to ProRes with it.

I've never used the e-m1mk2 but I have enjoyed the videos I have seen from it more than I enjoy most of the GH5 videos. The Olympus records DCI 4K at a higher bitrate than the G85, plus you can shoot 4K Raw video at 60fps with short bursts... that's a pretty cool feature albeit maybe not all that practical... To add, I think the colors are better with a more organic look. But I guess that is subjective as anything else.

I thought the same thing after using the GX85 and before using the em5 Mark ii. But it different level better and the EM1 Mark ii is supposed to be even better than the em5 Mark ii. I have heard of people walking around with it like a steadicam. But yeah, even with the prices coming down, there is a significant jump in price but there are also more features you would get with the jump other than better IBIS, headphone input, higher bitrate, etc... Either way, good luck with your choice.

It seems the G85 makes the most economical sense, but if that isn't necessarily an issue, have you considered the Olympus E-M1 Mark ii? The price is starting to drop on them and they seem to have better IBIS than Panasonic's variant. It does Cinema 4K at a higher bitrate than any of the current Panasonic's as well. You can use your current lenses and I feel Olympus has a better out the box color science than Panasonic. It also has a high bitrate, all-i 1080p if that is appealing to you. If you don't need the 4K, the em5 Mark ii is a nice choice as well. However I will add that although the a6500 does have its issues, the 4K really is pretty remarkable... but I understand why you wouldn't want one... the same reasons I returned mine.

Yeah, even take Vimeo Staff Picks for example... how many of the comments relate to the production of the video... what camera was used, what lens, what was your post workflow, etc...? Filmmakers love films, so that will be a built in audience in any DIY filmmaking endeavor... be it a short film, feature, or more specific to what you're interested in... self-distributed no/low/micro-budget films. Of course, this is just a theory that I have never put into practice, but I would think it would be something to consider when designing and marketing your projects.

Sorry this is slightly off topic, but not really... I am, or will be, in the market for a second camera for casual shooting. I've narrowed it down to a few choices, some 1080p, some 4K, and some things I've been noticing while watching a bunch of videos on Vimeo, is that cameras with 12mp sensors have some serious, for lack of better word, mojo to them. I've noticed it with the a7s, the LX100, the AF100, and most recently with my slight interest in the A7ii. So, is there something technically relevant to this anecdotal mojo I'm noticing?

Weirdly, I find the first video utterly remarkable. And in the third video, I am struggling to find the blown highlights... well maybe a few inconsequential highlights are blown, but shooting in mid to late afternoon sun in the middle of the woods is not an easy task, so the occasional blown highlight to see the subject's face is a fair trade off if you ask me. As far as crushed blacks... I just see some clean blacks, I wouldn't call them crushed. Film recognizes black. The idea that blacks need to be lifted is really for a pseudo faded film look that became popular with digital video to take away the inherent video look a lot of consumer cameras deliver. But I also like that faded film look as well. The real star in these videos, well the first and third, is the color separation and tonality and the highlight rolloff... in my opinion.

Jon, I am not seeing any aliasing in the first video, where did you notice it? Yes, it definitely looks softer than Panasonic footage with a native Panny lens, but I wouldn't say it looks like 540p. Or maybe I find 540p footage looks better than GH5 footage... LOL. Did you try watching the video directly from Vimeo? Because I did notice that the filmmaker only has two viewing options... 360p and 1080p, so it's possible that due to your internet connection, Vimeo is automatically choosing the 360p version. Also ML Raw has ZERO in camera sharpening. In the description, the filmmaker states that he added sharpen at default in FCPX which I believe is 2.5, which really isn't much. But I think we've also established that you prefer ultra sharp footage, so the soft, I prefer organic, look just may not be your cup of tea. In the second video, I believe the filmmaker did add some gorilla grain, which can add to the perception of sharpness. I don't know if I would say a lot of sharpening or excessive film grain, but that could be taste, so I will yield to your preferences. Honestly, I probably shouldn't have included that video anyway, because he used the GH4 for the slow motion footage, so it wasn't a true representation of 5D3 with ML Raw.

This guy uprezzed the 60p 1080p footage to match the 24p 4K footage in this video... it looks pretty good to me...

That's true about the focal reducer. They'll probably do a FF as you said and then a super 35mm crop like they did with D750... that way they have a better chance to pull professionals toward their mirrorless line. Honestly, I'm unsure what I want to do for a second cam. I was messing around with D5500 files and GX85 files today and neither impressed me compared to the 5D3 stuff I've been shooting. It's tough going back. Or I'm used to Canon color. I don't know. Maybe I'll just get a point & shoot. Of course, I can't deny the appeal of the GH5, but I'm also not excited by it either. The footage looks pretty good, but I like the footage I've seen from the X-T20 and the 5D4 and the 1DC better, but none of them have the features of the GH5. The answer is probably simple and I am content with what I have, but it would be nice to have a grab and go camera... well I've never tested an LX100... LOL.

@Cinegain I agree with a lot of your post. A mirrorless D5500, even in the DSLR form factor would be what I would ask for... I would just keep the same mount... Nikon has too rich of a lens history to start a new collection. It didn't work with the J1 or V1 or whatever that was, so why invest in one now when they already have some of the best lenses ever made available in the F mount. And personally, for me, after using so many different cameras over the past couple of years, I am just tired of big, clunky adapters. I'd rather have a native mount. Apparently Canon is planning the same thing with their rumored FF mirrorless and if the rumors are true, it will be an EF mount camera.

If you get a chance that would be great, if not, no big deal... I'll probably be interested in 3 other cameras by this time next week for a second body.

With that being said, there is something for convenience and no budget filmmaking and for the money the GH5 is the best deal around. And with every passing month I am seeing more and more quality work done with them. It may be just me, but I have noticed the 1080p looks better to than the 4K with highlights. But since I haven't used one, it's probably not fair for me to say for certain, just some general observations from the videos I have seen.

Wow, that would be awesome. Any or all of the above... of course we don't have too many windmills in the states, so that could be interesting. I'm in the process of selling off a lot of lenses, cameras and crap I've accumulated over the years. I assume it will take a couple months but I will probably use some of the money to buy a second cam. As of now my preliminary options are either an upgrade to a D7500, try my hand with Fuji and the X-T20 or resign to the fact that for run and gun, even casual shooting, the GH5 is the best deal around as far as bang for buck goes. For any "serious" shooting I'll continue with my 5D3 but for casual, off the cuff, grab and go footage, I'd like a second camera. I'd love to stay with Nikon but if the price gap closes around the holidays, the GH5 may just be the smart buy. But I'm really, really hoping the D500 4K beats the GX80 in your test.

@BTM_Pix I know this post is more about still photography than video, but don't you have a D500? And if so, can you shed some light on the 4K from the D500... particularly shot with the Flat Profile. There really aren't a lot of samples out there, but I am dying to try it.

@maxotics well it makes you wonder why none of the major camera manufacturers have implemented Raw video into one of their cameras. We already know it's possible, so for Nikon that does have that rich heritage in photography, if they were to introduce, even 720p, Raw into one of their consumer/enthusiast cameras, I would be one of their first customers. I had the NX500 and now have a D5500 and although the NX500 wins with resolution, the D5500 I still own. As much as I wish Nikon would introduce more features and make the video process easier, every time I get those humble files into FCPX, I am blown away by the latitude of its Flat Profile. I don't know the technical intricacies of the curve, but I know I can easily push the image to a modern or vintage look with cold or warm colors. The image will break much quicker than other footage, with better bitrates but it's amazing what a simple curve adjustment can do with a Nikon. If a beginner came to me and asked me to recommend a camera for video, without a doubt I would recommend the D5500, or D7500 if they want 4K. The NX1/500 would be at the bottom of the list. But this is just my opinion and in no way am I even suggesting that the NX1 or NX500 are bad cameras... they're just not a Nikon.

Well that's the catch, right? For a thousand less than the GH5, one can buy a used BMPCC or BMCC and get an instant cinematic look, but you don't get the conveniences of the 5-axis, better battery life, better screen... well I guess just those 3 things really because nothing else is better. If you need a workhouse camera for videography, the GH5 is a great camera, there's no doubt about it, but if you want a cinematic image, then get a BM camera or a Canon with ML Raw. Obviously, great work can be filmed with any camera... it's been said a million times. I love my D5500 for its low cost, clean 1080p image at 24p and 60p, but if I am working on a project where I am looking for a purely cinematic image, I'll pick up the 5D3 every time.

Hey Marty, yeah it is a great video... the filmmaker did an excellent job with the tool he had. I would never trade my 5D3 for an 80D or a D5500, but I do get excited to see what can be done with sub-1000 dollar cameras... especially the ones that get ignored by a lot of filmmakers. I've never used a camera that has DPAF, so I am intrigued by the creative opportunities the 80D affords. And since I have recently realized that I could care less about 4K right now, my next camera purchase will be one of convenience and near Hollywood level focus pulling is definitely a convenience that will allow me to worry about framing, composition and performances. As I said, I am definitely tempted to pick one up. But then on the other hand, I already have a more serious camera and the D5500 for casual shooting, so it may be unnecessary. But if DPAF is as good as it seems, a test of it with the 80D could help me decide my next big purchase next year, when I need to decide between the GH5, 5D4 and 1DC. But I am at least a year away from that purchase, so no rush really. Hope all is well with you and you're having a great summer. Happy shooting!

That is some beautiful work... but can you imagine the logistics? Any word on what cameras he used?

Exactly, I've been wondering why people do that to DSLRs as well, let alone with an iPhone. We are granted such freedom with the digital revolution, why treat the work like Hollywood filmmakers do?