mercer

Panasonic may just be creating a last minute firmware roadmap after Canon's bombshell. Panny's cine camera NEEDS 5-axis and Raw output IMO. You gotta love blind competition.

I had the Tokina 35mm f/2 which Soligor also rebranded. If the 35mm is any indication, then the 28mm Soligor should be a treat.

That seems like a good price for that lens, although I've never used one, I've always drooled over the Contax Zeiss 28mm f2 "The Hollywood." I assume they're similar in characteristics?

Yeah I think the MP4s biggest benefit is for dual recording proxy files. The xavcs should be 10bit, but they surprisingly gave so much I can't really complain. Of course this is easy for me to say because I will probably never own one. Too pricey for my wallet... even though the b model is an easier pill to swallow... but also because I only shoot run and gun guerilla style, so it's not really the best of choices.

I've had all three, the Nikon, Canon and Minolta. I paid less than $200 for each of them. They are all excellent. I only kept the Nikon. But at one point I kept the Minolta and sold the Nikon. And then I bought another Nikon but just recently sold the Minolta. Really only because I don't have a camera to use the Minolta with any more.

Did I mention I write horoscopes on the side.

You can have some good old fashioned 10/12 bit Raw. Now if they would only put these guts into a DSLR form factor.

Idk, Panny. I like your style but not the argument. With the C200 you are basically getting 3 tiers of camera in one. It's an all arounder. Say you're shooting a low budget wedding or small event... shoot MP4. Say you're shooting some corporate work... shoot xavcs. Say you're shooting a doc, music video, short film, feature film... shoot in Raw. This is a very versatile camera and the specs seemed to be very well though out. Holy shit, that's an awesome way to save some dough. I still, probably, won't be buying one, but I would only really need the monitor, so if that could save me a grand... or whatever... then that's cool.

And you're using Leeming LUT and his settings... right? But how else would you lower Gamma in camera without lowering exposure? It either has to be lowered with a lighting setup designed so the midtones hit a specific spot on the curve, or through your in camera exposure. Now unless you have an extensive lighting kit, you have to do that in camera. I guess you can argue that you may be losing some highlight information in that circumstance.

Original cLog was designed for 8bit color, so it's all good. Honestly I wouldn't even bother with the X-AVCS 4K anyway. You still need the cFast cards, so you may as well shoot Raw. If you need economy shoot MP4 for smaller projects and Raw for serious projects.

White papers are written by the people who designed the curve. They understand the best exposure methods to use so skin tones hit at the right place on the curve, so your highlights don't clip, etc... One of the reasons there was so much orange skin with the CineLikeD Profile, back in GH4/G7 days, was because everybody was exposing it to the left... of course they were also dropping contrast too. With most Log and Flat profiles you need to know where middle gray hits on the curve. Just exposing to the right doesn't give you that. Now if you're using Leeming LUT and his settings, you are probably good because Paul has done extensive research, but if you're not, it's best to nail your exposure in camera, or go slightly under and pull up. I don't have a Panny camera at the moment but I remember when I would ETTR, the footage was clipped on the RGB parade. Pulling it back didn't bring back that highlight information. But underexposing a 1/3 of a stop or hitting dead center and you could pull up the highs and still get some nice rolloff.

Obviously cameras are only so much of an investment, but if you've been thinking about selling your NX kit, now may be the time to do it while there is still interest. I would guess you are sitting on $3000 of NX kit... in a year that could only be worth $500 - $1000. That $3000 gets you nearly halfway to a C200.

Give me the chance, I could. Damn at $9000 this was a great camera, at $7500... shit. Maybe Canon can no longer fit any more of their heads up their asses. It almost seems to good to be true.

I can't imagine I'll ever be able to afford one, but I think I am definitely going to rent this bitch for a week or two. But then again, I predict a whole lot of used C100 iis hitting the used market.

It looks like there are already plans for the editing possibilities with a plug in planned for FCPX, amongst others, to cut Cinema Raw Light. I know it's unlikely but I'm hoping MLV files can be converted to CRL files for a direct edit in FCPX.

Man, I'm going to start a company... I wonder if Canon will let Mercer Media Group finance a C200... hmm.

What's really great about this camera is that they added so many specs that they can comfortably raise their specs downline without any Canon fears of eating into their cinema line. This explains the addition of cLog to the Mark IV.

Btw, I don't mean to infer that you are not a naturally gifted colorist, I am merely saying that it is hard to judge the organic nature of any camera by the best videos produced with it.

Also a lot of these guys are just naturally gifted colorists. AJ Molle has been making organic looking videos since the GH3 and LX3 and before. I struggle with color. I've watched tutorials and stare at the scopes and my stuff still looks meh. Those guys probably glance at the scopes once and then just adjust to eye. I wish I had that talent. This is another prime example. I think some of my better video was shot with the D5500. This guy posted this on the site a while ago... he shot it with the D5300. As good as I think my D5500 footage is, it doesn't even come close to the organic, filmic look captured and colored in this video...

You probably should have bought a Digital Bolex then. Lol. But seriously I agree with you. I am going through a similar thought process. I have my 5D3 for any serious work but I'd like a run and gun camera for fun and spontaneous projects. I'm testing out an E-M5 Mark ii this week. If I get along with her, I may save up for an E-M1 Mark ii. It's the only 4K image I have seen lately that even remotely feels organic. But I'll probably change my mind next week. Lol. I posted this video on another thread, but I cannot get over how nice this video looks... If I were a better colorist, the original a7s has some mojo as well...

I just bought a 5D3 and I also have an urge to make a lo-fi feature at some point. Something I can just get up and go with. Movies like yours make me want to do that even more. I may have to brush off the D5500 or with my Canon lenses, maybe an 80D would be a better fit... But then again, I already have the 5D3, so I guess why limit myself. Your Ursa work must be epic. Are you working on another feature?

Yeah that is really lame. But that's how rich people stay rich... they use other people's money. If you want to feel better, go over to the shooting section to see a feature film shot on a t2i.

Damn @Ehetyz I just watched the opening scene and credits... it looks awesome!!! Good pacing. Clean shadows. Nice camera work and composition. Obviously great gunshot effects. These are the kind of films that excite and inspire me... good filmmakers with modest means just saying fuck it, I want to make a movie. I will definitely be watching the rest of this and probably giving notes or comments as I go along... So far, so good. My only note and it's a dumb one, is that I would have liked to have seen a shot of the main character turning on the radio... it took me a split second to realize that the voice was coming from the radio. Obviously it isn't something worth reshooting but just a note. Anyway, awesome job and I look forward to watching the rest of it. If you don't mind me asking, what are you shooting with now?

Thanks, I've always been curious about them but since I usually use vintage lenses, wide open, it was never too major of a concern.

Whatever you did... it worked.