mercer

Edit: I've seen some nice footage using a glidecam, but I have never used the combo.

So just to clarify the OP's request... will you be filming your daughter's dancing primarily at recitals? I think without a doubt you would want a zoom lens. Sure in most instances primes are better but for your purposes, I would only recommend a zoom. Since you would like some nice bokeh, you need either a fast zoom or an f/2.8 speedboosted. For the filmic look you are after, I would certainly recommend one of three lenses... 1. Sigma 18-35mm with two adapters... the Metabones speedbooster and a Metabones electronic... this way you will double your zoom range with the one lens and depending upon where you are set up, you can choose the proper adapter accordingly. 2. Nikon Nikkor 28-70 f/2.8... the Bourne Lens... speedbooster and dummy adapter. 3. Tokina 28-70 f/2.6-2.8... Angenieux design... speedbooster and dummy adapter. There are various other zooms that will work for your specified needs... the Sigma 17-50mm f/2.8 with a speedbooster would be lovely. Vintage Nikkor zooms. Canon L FD or EF zooms speedboosted. But honestly... if you are after a filmic look, I wouldn't get the GH5 and the native primes or zooms. The GH5 is going to be an amazing camera and there will be amazing work produced with it and some of that work will look filmic, but it will take work to get there. I personally believe you can acquire what you are looking for with a better suited camera to your needs. For instance, if you are really interested in the filmmaking aspect of the project, then I would recommend either a BMPCC or a BMMCC. If you are interested in a good looking video with good colors and ease of use with great AF, I would recommend either the Canon 5d Mk IV or a C100ii. The Sigma 18-35mm will work brilliantly with Canon's DPAF (dual pixel auto focus) and your footage will thank you in the long run. This was shot by fellow forum member @Kubrickian with a Canon C100 mkii. Now he is a pro, but if I were in your shoes, with your budget, this is the route I would take.

Yeah, so in FF terms... it has the field of view of a 42mm? Polanski would only shoot with a 50mm because it was believed that a 50mm represented the FOV and angle of the human eye. More recent eye tests have determined it's actually closer to a 45mm lens... so that 28mm in Super 35mm is just about the same. Make it a fast lens and you have a great focal length for either shallow or wide depth... a very versatile lens. I guess that's one of the reasons that people refer to the Contax Zeiss 28mm f/2 as "The Hollywood?"

Yeah, with every passing day of looking at footage I shot, I am constantly disappointed. And the only footage I've shot where I am surprised by how good it looks, is from my 50D with ML Raw, or old BMMCC or BMPCC footage. I am a horrible colorist so I think B&W Raw may be in my future.

I've never tried EOSHD Pro Color but I've seen some nice work done with it from people on this board and Brandon Li. If you guys are looking for good sLog2 settings, with minimal post adjustment needed, then you should try Geoff's GFilm settings... he's been getting some stellar images with it. Also, the guy who makes the Flaat profile for DSLRs has some interesting settings I'm gonna give a go next.

I don't think Sony color is all that bad. I've had an a6500 and an RX10ii now for a couple weeks and although the menus and the amount of adjustments are a little convoluted, with slight tweaks to sLog2 or the cine profiles and the color seems fine to me. Here's a long color test (pardon the sound and occasional focus issue) I did with my RX10ii in sLog2 with some slight tweaks... it still needs some more tweaking but all in all it's getting close for my tastes... and purpose.

Great advice. I had the BMMCC for a few months last summer and the images it produces is just astonishing for a Rubik's Cube sized camera. I'm a little more run and gun, one man band oriented and the added screen was a bit too much for me. Am waiting to see what BM releases at NAB, but I would not be surprised if I end up purchasing another BlackMagic camera by year's end.

Once the robots take over, capitalism is dead... and cameras.

True, Nikon definitely needs a facelift and hopefully a company with such a rich photographic history will see the writing on the wall and make necessary changes.

Kodak didn't go out of business, they filed for Chaper 11 bankruptcy protection back in 2012, and exited bankruptcy protection a year or two later.

I doubt Nikon will be going out of business, if anything the company would be sold based upon their name recognition alone.

I'll give it a go... some people believe the image coming out of the GH4 has a video quality to it, whereas a camera from BlackMagic or other brand of "cinema" camera is more tuned to create a cinematic image. So if you believe this theory, and you're making narratives, a "proper" cinema camera could be a better choice.

All of this NX1 talk is kinda pointless because the OP has an a6300... and in his opinion he likes it better.

Yup, the D500 was listed, by multiple review sites, as the best camera of 2016. As a video camera, there are better choices, but every video I have seen from it looks pretty damn good... if only it had focus peaking and a smaller 4K crop.

That may be the nicest BM footage I have seen. Stellar.

So, I have '14 MacBook Air. I edit and color in FCPX. I have my display set for rec709. When I export a screengrab or video, it looks exactly as it did within FCPX, but on my phone, which I believe is srgb, a greenish tiny appears. So, what I'm wondering is, how do you guys handle the slight color changes that occur between different devices? Do you find a happy medium, or is there an export color space I am unaware of that is more neutral?

Unsure why everybody is surprised the AF seems iffy with this camera? Each company seems to have specs they excel at and it takes the other manufacturers a few years to catch up on... I doubt Panasonic is just holding back phase or dual pixel af. Just as I doubt Canon is holding back inexpensive 4K with a manageable codec size. Just as Sony is doubtfully holding back cameras that do not overheat. If you NEED great AF, get a Canon. If you NEED crazy sharp, high resolution video with adequate AF, get a Sony. If you NEED 10bit 4K up to 60p at $2000 get the GH5. Since I assume most of the people interested in the GH5 are event videographers, I would think AF would be more important than 10bit video? As said earlier... you can't get everything for $2000 or less.

Okay, this one doesn't fit your speedbooster to full frame criteria, but if I was on a budget and looking for good 60p I would just go with the Nikon D5500 or 5600. The 7200 offers zebras and metering with ai/ai-s lenses but the 60p has an added crop, so the D5500 or 5600 is probably a better fit. The Flat profile is amazing and APS-C 60p may hold you over until the A7Siii arrives. Another option would be a D500... 4K with a crop but 1080p 50/60p with APS-C and EIS. It seems to be a beast of a camera.

I appreciate your efforts with making the BMMCC a more production friendly tool. As you may know I had one last spring/summer and I loved the images I was getting, but the form factor was just a headache for me. Since you are more in the know, regarding accessories for the micro, do you know if anyone has made a hinged plate, so a tilting LCD would be an option for rigging up the Micro? I searched and searched for off the shelf components to make one but could not find anything suitable to the task. With that Ikan 3.5" monitor, and a tilting plate or hinged plate that places the LCD directly behind the micro, I would be very interested in the Micro again. As it is, I am planning on buying a Pocket cam... if BM doesn't release another option at this NAB.

Wicked! It seems like the LS300 could be one of the sleeper cameras of the past two years.

Looks great! I have that lens and the whole set of 1.9 Cosmicars... they're definitely some of my favorite lenses. Was this Raw or Prores? I shot this with it on the BMMCC wide open... And these are with the 25mm on the G7...

Shoot your exteriors on film and your interiors with your 5D... I think old episodes of Dr. Who used to do that... I think I just dated myself and dorked myself in one sentence.

A6500

You're interested in the cine cam/camcorder form factor? Have you seen this video? It was shot by Martin Walgreens with a high end Panny camcorder.

Does the Sigma have hard focus stops? I briefly had the 17-50mm and was pleasantly surprised by the hard stops. @Andrew Reid do you have an a6500, if so how does the Sigma handle the PDAF? Thanks in advance.