mercer

I just read that the human eye cannot perceive anything over 8bit... is that true? If so, I still see the benefit of it for professional colorists, but for the novice, a light grade in 8bit should be more than enough. I also understand why Panasonic gave 10bit because they needed that internal Log to compete with Sony. Since Panny's implementation of VLog with the GH4 was disastrous for anybody who only used it internally, 10bit was necessary. And cLog was designed with 8bit color in mind. I would think the 4:22 aspect is more important than the 10bit?

But anyway, sorry for going off on a tangent about all this. Just something I've been thinking about lately. @andrgl I have been searching and searching for M5 videos this morning and I don't think any filmmaker has bought this camera. I am really interested to know how you get along with it. So please post a video after you put it through its paces.

Yes it's the same mount as Contax... the C/Y mount. I saw an f/2.8 24mm go for around $120 last week on eBay. But I do feel compelled to add that even though the reverse focus of Nikon lenses annoys you, the 24mm f2 is a brilliant lens and on a speedbooster it will give you a 1.4. If you use them with a follow focus, you can usually reverse the gear so it turns the way you're accustomed to. Plus with patience one can be found for around $200. I also think Komine or Kiron may have made an f/2 24mm that is adaptable to EF.

Well, IMO, the brilliance of the DSLR movement was that it gave the indie filmmaker the ability to create shallow depth of field. With close ups and blurred backgrounds filmmakers could shoot inconspicuously in public and not need the budget to worry about sets or people walking by. The softish nature of Canon DSLR video is a plus with close ups... who wants razor sharp portrait shots? Now obviously it's difficult to make a film without any wide angles, and this is where that Canon soft look fails. My whole point was that people are too crazy, worrying about the next and best advancement in IQ, when in most instances it doesn't help their work. I have been guilty of it. Look at Kendy Ty, a man revered for his t2i films shot with one lens. He recently switched over to the a6300 and in my opinion his work has actually suffered for it. On the other hand, people like what they like... and I couldn't care less how they spend their money. For me and my work, if I'm not shooting Raw, I want a camera that will make my life easier, so DPAF is definitely something on my radar. I love Canon's IS and focus peaking, so those features outweigh my need for 4K, especially since most consumer 4K looks brittle, oversharpened and plastic. Also, other than the a7s, for its lowlight capabilities, and GoPro, for its tiny footprint, the 5D is the most used "consumer" camera used in Hollywood films. If it's good enough for George Miller... Look at the Zacuto Shootout and how well the GH2 was received. Wasn't it Coppola's favorite? If that shootout occurred today and they pit the GH5 against the Alexa, I'm not so sure they'd receive the same results... but maybe. But I get it... I want 4K too. But do I really need it? But again this is just my opinion... I have very specific needs due to the films I am working on. I need an inconspicuous footprint to get my shots. Other people have other needs and tastes. In the end, whatever produces work the creator is happy with, or can afford, is the right tool for the job. For some that's 4K, for some it's soft DSLR video from a Canon.

Pentax M lenses have a similar look to Nikons. Otherwise maybe an RMC Tokina? I also have a manual Tokina zoom from the late 80s/early 90s that I really like. It's a 24-40mm constant f/2.8. I shot this with it on the D5500... If you're in the States, I have a second copy of it in the Olympus mount I will be listing on eBay in the next few days. Also Yashica ML lenses are often compared to Contax Zeiss. In fact, a lot of them were made in the same plant and some supposedly use Zeiss glass.

Found some nice anamorphic GH5 footage on Vimeo. I think it's with Kowa 2X...

I am not disagreeing with you, I was merely answering why Canon may be holding back investing R&D into things we may find important as a minority in the world of consumer cameras. From a business standpoint, I can't say I disagree with their logic. As a consumer, I wish they offered more. But as an artist, can you say your work is any better than your GH1/GH2 days? Has any of these, rush to market, advancements made your work any better? I am seriously asking your opinion on this. Because I am a fan of your work. Some of your early GH1 footage is inspiring, even to today's standards. I almost bought a GH2 yesterday after watching one of your earlier cinematography reels.

I actually liked the RX10ii. It's a fun camera. And I even liked the harsh, kinda mushy ugliness of its 1080p, but yeah there was nothing, except price, that I found remotely as good as the XC10... well I guess the constant 2.8 lens is nice.

Don't get me wrong, Canon infuriates me sometimes. Within the next 6 months I am probably going to re-enter the 4K market. I was hoping it was going to be the 6Dii but now it looks like they're not going to include 4K in their $2000 camera. I find that to be absolutely ridiculous and non sensical. If the rumored FF mirrorless is released by the end of the year and it has 4K, I will probably be a customer. I already have a couple EF lenses. Since I'm in no rush right now to get a 4K camera, I can wait a while, but if they don't include 4K in that FF mirrorless, then I will probably sell my EF lenses, shoot ML Raw with my Nikkors and then probably get an Olympus or a GH5... as much as I don't really want a GH5, you are right, the features are undeniable. Of course I could go with a D7500 as well and be just as happy as I would with a Canon... even though the crop in 4K is mildly irritating... the footage I've seen from the D500 with its identical sensor and video features, has been pretty impressive. In the meantime, I am looking for a pocket/glove box cam. Something casual for snapshots and the occasional video. I would rather have Canon color and good autofocus, plus 60p for slow motion. That cam I will buy by the end of the summer and it will most likely be either the G7Xii or the EOS-M6. I haven't decided yet. But I love the video I posted earlier from the G7Xii so I am leaning in that direction. The color, IS and focus tracking looks phenomenal to me... for what it is. Also, Canon gets knocked a lot for their soft 1080p, but when I see video shot well with a Canon DSLR, it makes me happy. I don't ever think if only that was in 4K, it would be better. I mean look at this video. It was mostly shot with a Canon t5i and some shots with a G85, and even though I can pretty much pick out the shots that are Panny, I didn't like the rest of the video any less, in fact I would have been happy if the G85 shots weren't included...

Yes they are. Last year, Canon was the 2nd best seller of mirrorless cameras in their home market. Getting 19% market share, they beat out Sony and Panasonic. Olympus was in the lead.

Keep us posted, I'd really like to see what the new generation of M models have to offer from someone that knows what they're doing.

I don't know I think you're missing the point of the original post and my subsequent reply. I mean I can argue that the XC10 has the best 4K image under $2000, better than anything Panny or Sony is offering. But irrelevant to the conversation at hand.

I don't need the EVF, so I was thinking about picking up an M6 eventually. Pair it with the 22mm f/2 and it would be a great Pocket cam for casual shooting or interesting, lo-fi projects. I recently found this video shot handheld with the G7X Mark ii and think it looks pretty spectacular... With the DPAF of the M series, you could have a nice compact set up. I have an M10, which I plan on selling, but the focus peaking is the best I've ever used, so that's a plus too.

That simple... hmm... maybe I would use it.

That definitely should not have been ETTR'd. L O L!!! But seriously, there is something really eerie about that... like I went back in time and looked through a peep show at a kinetoscope booth. I wonder if you chopped off the lens and attached a Nikkor if it would sharpen up a little and soften those highlights? Either way it's really freaking cool and could work in my film. How would one go about digitizing it? This one's even creepier... Just kidding BTW, I wouldn't use one in my film, but the spirit behind the image is interesting.

Btw speaking of fashion @BTM_Pix I was working in NYC while the NY Fashion Show was running and I was talking to a photographer at my hotel who was there covering the show. So of course I asked him "Canon or Nikon?" Being a video hobbyist and unfamiliar with the professional photography world, I was initially surprised by his reply... "Who cares about the camera, they're all good enough and cheap enough, it's the lens investments that dictate your body choice." Yeah Pixel Vision would definitely capture the last leg in beautiful analog cassette tape.

A couple Arri Classics are selling on eBay for $10 grand... they may make a more suitable stills camera for this year's Tour or French Open.

Thanks, I watched a comparison video on Vimeo and it seemed the GH5 just beats the EM1mk2 with DR, but the Olympus 5-axis easily beats the GH5. I briefly had the em5mk2 and I found the 5-axis was a lot better than the IBIS on the GX85. With a half stop better, I assume the EM1mk2 is insane. I have seen some videos where it almost can replace a steadicam for short movements, have you found any truth to that with your practical experience? But then again... 10bit 4K in the GH5. If the Olympus were $500 cheaper, it would be a no brainer... maybe the em10mk3 will be a suitable in betweener. Oh yeah, how's the 1080p on the EM1 II?

@BTM_Pix that is a pretty cool test. So just to be clear, you found footage online from posh camera, or you have said posh camera? If it's the former, couldn't possible parameters in the record/upload/process/delivery chain cloud your test? If it's the latter, why are you mucking about with a GX85? I assume the bottom grab is from the GX85? Even still it's pretty darn close. Can you turn my iPhone into an Alexa Mini?

Looks nice. Miss your camera updates... Do you have an a6300 and a G7 now? Btw, was that CineLikeD?

I'll probably get torched by half of the comments for saying this but I think the Schneider beats the Olympus wide open in sheer character and texture. Sure the Olympus is sharper but at 10x the price, it should be. But the real problem is the rendering, as you said. With the Olympus, there is a plastic sheen to the sharpness of the image, where as with the Schneider, there is an organic softness to the image... yet sharp enough. By f/2... how much sharper would you really need. The shot of your "daft dog" is quite beautiful. And possibly one of the best samples I have seen from the GH5. Was that a screen grab or a photo? Thanks for this, the GH5 may actually be back on my radar. I've been shooting at some pretty epic locations for my 5D3 film and I was thinking about bringing a 4K camera along for some stock video footage... I look forward to see how the summer FW update does. Any word on when that's expected? Also e-m1 Mark ii vs. GH5... any chance of an in depth comparison review?

Yeah, this is solid advice. @GlamourDave ML Raw aside, which I love, but I understand it isn't for everybody, the 80D/XC10 combo could be perfect. Throw in an H1/H2n, a lav or a Rode Video Micro and a video tripod head and you will have a solid set up.

Ok, well in that case, since the XF100 is a primary goal for you, an XC10 or XC15 could be perfect for you. It has better specs than the XF100 (4K) and still meets broadcast specs with its 4:22 codec. Plus with your budget and maybe selling off a couple of your redundant lenses, you can keep your 7D and still have money for a video head, simple audio equipment and maybe even an inexpensive slider. Then with your 7D, you can test Magic Lantern Raw since it's free. Plus the XC10/15 has really good IBIS, so you can go handheld with most of your work.

Yeah, is there any 5-axis sensor vignette? Really nice looking images though.

Yeah I am only having issues with chroma noise. Btw, do you like ACR better than Resolve? I use FCPX and only use Resolve as an intermediary to get to ProRes... but if I remember correctly, you can't export as ProRes in Adobe any longer, right?