mercer

Right, I live so much in my own bubble that I already forgot you said you deliver the ooc footage to the production company. Brain fart moment... sorry. How do the production companies rate GH5 footage? Is that an acceptable 10bit until the EVA gets released? Sorry for all the questions but I am really interested in how that side of the business works. I only work with narrative shorts, that I finance, so my knowledge of this level of professional work is ignorant to say the least.

Yeah the crop is dumb and I suppose for interiors you would need that wide end. But it is a really nice 4K image. And the 1080p is gorgeous as well. The Tokina 11-16mm would cure that or for low light their 14-20mm f2 could work. Here's a 4K video shot with the D500 which has identical video as the D7500. This looks like it was shot in the Flat Profile and it doesn't look like he did any, or much adjustments in post, but it still looks great. Of course, this type of video doesn't really help you make a decision for what you need in a real estate video camera. But it's still a nice video... In all honesty, if you need 4K for your work, you may be better off with an RX10ii or an XC10. The FZ2500 does really nice video as well. The high bitrate, all-i 1080p in CineLikeD is really good and at no time did I feel like I should have shot in 4K.

@ade towell how much footage do you compile on a mid tier level shoot? Because with the Canon's dual recording for proxies, you can have 12bits with 15 stops of DR with an easily editable solution. Not trying to sway your opinion, just curious if it would be an option? With the iPhone/iPad remote Touch AF, the B model could get you in the door a little cheaper and will be available next month. Again, I don't really care what you choose, just sharing thoughts. Both are great cameras. I love the Varicam image. I love the Canon image.

Hey, I can only base my opinion of a camera on my needs... desires really since I'm not in the market for either of them. I understand different people have different needs. On paper, for my desires, the C200B is the best buy. I don't mean to offend other people's choices or needs... I just thought we were having a discussion here with a little back and forth. But honestly, I don't really know why mid tier production houses really need 10bit? Obviously, I understand the benefit of it... but what clients specifically ask for it? Is it the editing houses that are asking for it to be delivered in 10bit? Or the ad agencies? I mean the 4:22 avc codec that Canon is releasing next year is a broadcast quality codec, so who asks for the 10bit container? Sorry, I do not do any type of work like that, so I am interested how that works.

Yeah, I need to sign off. So far this week I want a C200B and an E-M1 Mark ii. The silly part of it all is that I am finally content with the camera I have... but it doesn't have rock solid 5-axis IBIS. lol. Just kidding, I would never sell my 5D3 for the E-M1mk2. But can I afford both? Seriously though. I HOPE to have the short completed by August.

I am a big fan of your posts, I've learned a lot reading them over the years, but did you see this video from the C200? I'm sorry but there is no GH5 video on the entire internet that looks more cinematic than this. With or without anamorphic. Obviously this is all subjective and I have seen some great GH5 work. And I'm sure the EVA will create great images as well. I think there's room for both cameras... especially since they're not really battling for the same market or price bracket. At the end of the day, it's a great time for indie filmmakers. Hell, these cameras may force Arri to release that Digital S16mm they were talking about a few years ago.

The problem with the EVA is its price. They basically announced a concept camera that will be a +$10,000 camera once it's fully kitted out with an evf, media, paid external raw upgrade and external recorder. It will probably be closer to $12,000. Who would pay for that when you can buy a base Varicam LT for only a few thousand more?

Yeah, that is cool as shit. Hopefully it works as well as advertised. Idk, I think if I were in the market for a cine cam, the B model is the way to go, for me. I also think it would be smart of Canon to drop the price of the B model to $5499, then that way they could offer different FW paths depending upon which model you buy... With the full kit model, they could offer a 10bit update in the future but since the B model is priced significantly cheaper, then the FW path would be significantly smaller. This way people who buy the kit are getting more bang for their buck, yet people like me can be happy with 10/12bit Raw with dual proxy recording. I would never use the top handle anyway and I could use my iPad mini when on set or my iPhone when on location. The only accessory I would possibly buy later is the grip and even that isn't a necessity since I would usually have it on sticks. Or even better... announce and release a 5DRaw for $4999!!! Canon take my money. My kids aren't that smart anyway, so they don't really NEED that college fund. Lol. Man... I wish I had kids so I could borrow from their college fund... goddamn you safe sex!!!

@Kisaha US prices are $5999 for the C200B and $7500 for the full kit... so I guess 5300 and 6600 euro respectively... give or take. I would love a C200b. A small 4K monitor and my Nikkor lenses... yeah I could dig that. I may rent one next summer... I'm sure they will be reserved until then. I guess I'll just deal with ML Raw until then.

Yeah that's gorgeous. The shots of the barren wasteland remind me of an old af100 video of the salton sea. You can really see the lineage. But why do Panasonic colors always make pencils look orange? @Kisaha I think two good cameras were introduced this week and both at fair prices. Sure I would have loved to have seen both come in about $2000 cheaper, but that would be unrealistic for what we're getting here. I really can't wait to own one in 5 or 6 years... ??

I liked it... it had a real indie vibe with the flat color palette. Reminded me of It Follows. That's funny, I didn't notice the nuclear greens... I'll have to go back and look. But then again, I struggle with Canon color... so I'm probably not the best judge. Maybe two months straight is too long to leave in one pair of contacts... ?

The grading isn't your... cup of tea? Or literally isn't your work, but you do grade Varicam footage professionally?

We just finished that Netflix show... 13 Reasons Why and I will say it looked very organic with good colors. If the EVA has half of that LT look it will be a beaut.

You know there may have been plans for a C100iii until a1ex broke the 4K Raw in the 5D3. Probably not, but I can't imagine they don't pay any attention to it. I think that was a brilliant decision on their part.

Makes sense. I've been shooting ML Raw for the past couple months, so with my small lens collection, the idea of 4K Raw with DPAF sounds pretty effing awesome.

Good point and downsampling to 4K will be beautiful for Netflix and future proofing.

Yeah but you can just buy a GH5 and have your 10bit 400mbps for more than half the price of the Panny and get 5-axis. For 6 grand plus a $1000 in CFast cards, you're shooting 4K Raw up to 60p with 15 stops of DR. For $7500, you're getting the full C200 kit. Add a grand for media and you're still cheaper than the Panasonic once you add an evf and an external recorder to record the 5.7K Raw. When all is said and done, the C200 is thousands cheaper and it has more DR. But if you don't need or want the Raw and you need the 10bit in the cine form factor with Varicam colors... then yeah the Panny is the better choice.

Seriously though, these past few months have been great for the indie filmmaker. Gotta love competition!!! They filmed it in sLog.

It is a cool looking little camera. But it almost looks like they intentionally designed it to look like an FS5/C100 Panasonic. "Well, the FS5 looks stylish with some pretty good specs and our glass kinda sucks... so why not combine the two and put Varicam on it." A SLOW CLAP grows across the boardroom-- "Once again Mr. Sonic, you nailed it." Sorry I started drinking early this evening...

Idk, I think the C200 is the winner here. If you don't use Canon glass, you could buy the C200B for $5999 and then just buy that Ikan 3.5" 4K monitor and shoot 4K Raw up to 60p with 15 stops of DR and Canon color... and you probably already own a 4K monitor? With your Contax Zeiss lenses... that would be a killer set up. Btw, I tested that Footage app you mentioned with some 5D3 clips... not a bad program at all. Processed them as C Log and a basic C Log to Rec709 LUT worked great. Even an Impulz LUT looked pretty good.

Idk, if I were a GH5 owner I think I'd be pretty damn happy right now... by the end of August's FW update, for more than half the price, you're getting the same 400mbps 10bit with 5-axis IBIS.

Well, it looks like the C200 is the better out of box deal.

If they were to do that I think it would be in a DSLR/Hybrid format. This won't eat into their Pro Camcorder sales, but a $4000 version would. I predict that JVC will add internal Raw to the LS300 and it will look and work amazingly, and no one will care.

Yeah I really thought they were going to tie in the GH5's 5-axis. I think that would have made this epic. Of course their IBIS may not have worked as well on an EF mount... which is why they should have gone with a m4/3 with a built in speedbooster... LOL.

Okay, that makes sense, but why announce future plans for 5.7K Raw and not export any Raw resolution at release? 2.5K Raw, up to 60 FPS, would make a lot of early adopters happy.