mercer

To add, from reading Max's posts over they years, I have a sneaking suspicion, Max has developed an app that will inform the filmmaker exactly when to use either sLog2/3 or Rec709 for maximum gain with any given shot.

Okay, I find this post extremely fascinating, mostly because I am not the most technically knowledgeable person around, so if I am to understand what is being discussed here I would conclude this. By using Log, a filmmaker can open the dynamic range of a shot more so than using a Rec709 profile. By doing so, the filmmaker is risking losing color information because the image data is stretched so thin due to the Log curve. But by using Log, the filmmaker gets to choose in post what details they would like that information to be used for, where as with a Rec709 profile, your dynamic range choice will be more limited, but you will have more color information within the available stops of dynamic range? Max is trying to conclude what is lost where with dynamic range and color information, with Log compared to Rec709, to decide how to go forward with a Rec709 color space to get the maximum dynamic range and color information visible on a Rec709 monitor. Assuming I am following this correctly, it would seem, from reading this post, Max has already concluded his thesis and has put into consideration all of the variables discussed and decided which are relevant to his findings. But still has questions regarding the color information gain with Rec709 vs the Dynamic Range gain with Log. Am I following this correctly? And if so, isn't it nearly impossible to empirically quantify that information without taking into account the endless variables that may be present in a specific shot that's vital to a specific scene?

Gotcha, yeah I tested the 48fps before. It looks nice. Pain to change the settings on the fly.

That's about how long I had mine. I was planning on keeping it but on the same day I found a bunch of 5D3 Raw videos, I got an overheating warning on the a6500 on a 40 degree, Fahrenheit day after shooting two 15 second clips in the shade. I knew my next project was going to be in the Summer and I didn't want to risk it. But for winter shooting, in B&W, the a6500 could be a beast of a camera for handheld, run and gun... especially if the price drops a little over the next few months. Thanks, for checking your files.

Honestly, when I went with the 5D3, I deleted a lot of my test footage from most of my past cameras for the storage space on my drives, but I'll check to see what I have. Good idea. For some reason I thought it would have to occur in camera to have a positive effect. Thanks.

Sorry to jump in the mix here, but I have a somewhat relevant question that I've been curious about for a while... I had the a6500 last year and was thoroughly impressed with its 4K IQ, using sLog3. It is the closest I've seen to Raw with an 8bit, consumer camera. Obviously, the major issue with using sLog3 is the potential for banding and artifacts, but if one chooses monochrome for the color gamma, will the 4 luma values in its 4:20 codec help to combat the banding and artifacts, or since the gamma is down the pipeline, there can still be an issue? And if there is a benefit with monochrome, does the 4 luma values have a positive IQ effect with all 8bit cameras when shooting, in camera, B&W or would it need to be a monochrome specific sensor like the one from Leica or Digital Bolex?

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.