mercer

If you get a cage, I would get a lens support as well to take some of the stress off the mounts. But... if you're gonna go and do all that... you may want to consider selling the GX80 and getting the G85.

I guess there is no chance of swearing off cooked meat in the New Year?

I've never denoised footage and only recently attempted to use any grain. After this week, I am finally done testing cameras and just going with the Pocket... like I should have back in 2014. I basically have most of the peripherals I need for it and a few hundred in BH gift cards, so I should have it by Christmas. If my memory serves me you shoot only with ProRes, correct? Do you use 100% zebras to expose it to the right? And if so, do you still get noise? When I had my dud pocket back in October, I shot only in mid afternoon sun and it seemed fairly clean, but I had the micro long enough to know that there are some noise issues, but as you said, it's fairly organic.

Btw, I assume Triple 9 was shot with an Arri with Arriraw? Or even if not, didn't you rent an Amira or a mini a while back? If so, how clean are the shadows? Just out of curiosity?

Thanks, I will check it out when I get the Pocket (my 2nd... ugh) I just purchased Red Giant Renoiser, during their annual sale, and it seems pretty decent but I am fairly new to grain. This is a shot from the Rx100v. It's my first attempt at slog2, but if nothing else I thought the grain from Reniiser added a nice texture... Btw, your company's new feature... Dead Bullet looks great... can't believe it was shot with a gh4.

@Zak Forsman and @Bioskop.Inc with your Micro and Pocket footage, respectively, do you guys denoise your footage before your correction/grade and then add the film grain as a title grade over the entire project... or do you just let BM's organic noise add to the grain effect?

Unless you're having financial issues, then why sell the C100ii? You have one of the best, for its cost, cinema cameras out there with insanely good AF. That camera will pay for itself in less than a year by doing an odd job once or twice every couple of months.

I'm unsure of the file sizes but I have seen a couple really nice videos done with the 70D and ml raw... And this one looks really good too... I've been keeping an eye open for a refurbished 70D but Canon never has them in stock.

Pretty awesome, it was both calming and frenetic at the same time, but maybe a little long? At 3.5 minutes with a passage from an old sci-fi book or something from TS Elliott narrating over top of the music and I wouldn't be surprised if this became a Vimeo Staff Pick.

That makes sense, I just don't want to be a DP. I'm a writer that is looking for another outlet to showcase my writing. So, external monitors and a bunch of cables are too much for my sensibility. From reading this site over the past year and a half I learned a ton, and I care about image quality, but for my needs I don't want to be hindered by too much equipment for my skill set or needs. There's a phrase in screenwriting called K.I.S.S. which stands for Keep It Simple Stupid... and when it comes to the technical element that's how I have to approach it. With that being said, I really respect the craft and skill set of so many people on this site and I am obsessed with learning from all of you.

I had the Micro last summer but didn't enjoy rigging it up for the run and gun shooting I like to do, but the image with old Kern c-mounts was amazing. I sold it, then eventually bought a Pocket but I think it was defective because the camera got so hot that it felt like it may melt, so I returned it. A few weeks back I was messing with the footage and it just looked so much better than anything I had shot. I've been practicing my color correcting/grading skills because I was tired of using LUTS and you have to do more to the image, but the latitude is insane... you really have to try really hard to get those files to fall apart.

Nice work, are you a director/dp? Was that footage Raw or ProRes?Gotta love the Pocket, just such a cinematic image... everytime I see something shot with it I wonder why I even bother with other cameras at this price point... even poorly shot footage looks pretty damn good.

I had the RX100 V and then I returned it. I don't know if I had a bad camera but the temperature warning popped up while I was using the menu, and the thing was sooo small that navigating the buttons was a chore. But I really liked the image and trying out SLog2 for the first time. I actually enjoyed the image and features so much I ended buying the a6300... of course the 1080p doesn't seem as clean as it is on the RX100V, but as a whole it's a more enjoyable experience. Of course, I am not even sure I am going to keep the a6300, I just am interested in testing it out... but if it works as I hope it should be a nice production cam for some super short films I am writing... we shall see.

It sounds like you may need some Mark iii ML Raw or a 2.5K BMCC... which are so cheap used now I am questioning why I am going to spend about the same for a new BMPCC...

JCS is probably the smartest poster on this site... his YouTube hits will pay for his kid's Ivy League education.

Yeah, that is strange. Something is definitely not right. Do you have access to a Canon camera to see how it is natively mounted? You cannot change the Luma Range on the GX85 and to be honest, I'm unsure what it is natively set at. If you're looking for that feature, then you should probably go with the G80/85... which is the better deal now anyway.

I think people who shoot narratives are more interested in grain than filmmakers from other disciplines. Because sometimes I see a scene with a clean, digital image and I can't stand how sterile it looks... I want to make it as dirty and grimy as possible.

Idk, I think you could obtain that look with a 5D mk iii and ML Raw.

By no means am I suggesting this median approach is the best or proper way to handle white balance, but when I was setting WB at 5600 or 3200, more often than not I was adjusting down to 5000 or up to 3800 in post... respectively. By setting a median number I have found that I was able to set it and forget it. I look at it as a Kelvin AWB. YMMV.

Here's another example where I used 4400 Kelvin WB with the GX85...

I have tested it with filmconvert but I recently purchased red giant renoiser and I really like the texture it added.

I wouldn't do it if I was shooting under candlelight but for a generic wb, I find it better than auto in a lot of instances and it helps with mixed lighting indoors... sunlight coming through a window and a tungsten lamp. This is a long boring 120fps slog2 shot from the Rx100v where I used 4400. It's my first attempt at slog2, so don't be too harsh... Also, I don't know if anyone has used it, but Colorista IV has a "Guided Color Correction" feature and the feature turns a 5 minute correction process into 30 seconds. I highly recommend it.

Lately, I've only been using Kelvin at 4400 and then adjusting accordingly in post.

Beautiful work... 5D mkiii with ML Raw is pretty much unbeatable at that price range. And you really showcased how nice it can look under varying conditions. Good job!

I am nowhere near this level of skill or budget, but I find this discussion very informative and with my limited knowledge of higher end equipment, it would seem the FS5 ticks most of your boxes, if not all? I have seen some beautiful colors and footage shot with it. I know a few people on the forum own one, so you may want to check the download section to see if there is any FS5 footage on there or put up a request. Good luck.