mercer

Obviously an extreme example, but that is pretty bad. Do you have the RS cure enabled? Not that I believe that's the cause. Also, how are you handling your files in post? I bring all of my footage through EditReady. I'll either downscale and transcode the 4K MXF files to 1080p ProRes or transcode the 1080p MXF files to 1080p ProRes. Again, I'm not saying your post workflow is the issue, but I believe for these tests to be congruent, there should be a specific protocol we follow to establish a proper control group.

I have not seen it, but I honestly haven't used the camera in about a month and I have shot mostly 1080p with it. It seems that most of the problems are from users who shoot primarily in 4K. I plan on getting out in the next week or two with it, so I will definitely look out for it and try to recreate the issues you guys are having. Could you guys specifically describe the shooting conditions where you have noticed it the most, to help make my tests more useful? Also, if your cameras are within the return deadline, I would exchange them out for a new unit... Just in case you did get a faulty camera. I do have a lot of older footage I shot in both 4K and 1080p... Mostly handheld in C-Log with IS. I also have some WideDR footage I shot on sticks, I'll go back and reevaluate it in case it was there all along and I just didn't notice it.

So, I am floored by my recent D5500 purchase, so much so, I am selling off most of my other lenses and keeping a few small sets for my Canon eos-m10 (which is a blast of a little compact, interchangeable lens camera btw) most notably my set of Minolta MD lenses which render beautifully with the Canon. I really want to keep my lens options to a minimum with the Nikon, but ideally have a good small set of primes and zooms. I currently have a Nikkor ai-s 28mm f2, 35mm f/2, a Series E 50mm f/1.8 (which I hope to replace with a faster 50mm in the future) and a 35-70mm f/3.3-4.5 Nikkor zoom which gets bad photographic reviews, but I find to be a pleasant little walk around lens for video. For zooms I have a Tokina 24-40mm at-x f/2.8, 35-70mm at-x f/2.8, and the "Plastic Fantastic" 19-35mm f/3.5-4.5... With some interest in the 20-35mm f/2.8 because I have read that it is like having a set of wide to normal primes. Since I am selling so many lenses I have collected over the years, I hope to use some of the money to get some higher quality Nikon, or Nikon compatable, lenses. As of now I am interested in a few different lenses (mostly zooms) that I hope some people here may have some experience with... 1. The Angenieux designed Tokina 28-70mm f/2.6-2.8 - I've already heard so many glowing reviews of this lens, from users on this site, so when I find one at the right price I will definitely buy one. This lens is so special I am not even worried about any focal range overlap. 2. Tokina 14-20mm f/2 - I've never owned an ultra wide zoom... Or lens really. I briefly had the RMC Tokina 17mm and found it to be a lovely lens, but that lens is a little slow and the prices seem unjustified in the Nikon mount. Has anyone used the 14-20mm and could you tell me about the manual focus and any overall impressions of the lens? 3. Tokina 11-20mm f/2.8 - I have read some great online reviews of this lens and it seems to be a better choice than the legendary 11-16mm as some believe the 11-20mm resolves better on the current crop of 24mp Nikon cameras. So, is the 14-20mm f/2 so much better than the 11-20mm to warrant the $200 bump in price? Does the extra stop make that much of a difference? 4. Tokina 24-70mm f/2.8 - as I said, I already own the Tokina 24-40mm and 35-70mm at-x f/2.8 manual zooms. I really love these lenses, but I have heard great things about the 24-70mm, that I'd love to hear any personal experience with that lens... Specifically manual focus operation. I am pretty content with the two I have that cover those focal lengths, but if the newer 24-70mm is absolutely amazing, I wouldn't be adverse to selling them and trading up to a higher quality lens that covers that focal range gamut. As far as primes, I am content with my Nikkor ai-s lenses. As I mentioned I would like a fast 50mm Nikkor, but rarely will I ever use a long prime. I may eventually pick up an 85mm f2 or the 105mm f2.5 for those instances that I may need a longer reach, but I usually like to stay between the 35mm - 60mm FOV. I may also buy a 24mm f2, or a 20mm f2.8 eventually, but I'm in no real hurry for it. Also in the future I may be interested in expanding my prime collection with lenses from other manufacturers. The Voigtlanders look great. And I believe there are some interesting Russian lenses in the F Mount... So any information on cool 3rd Party primes would be appreciated as well. I know that's a lot, and I know lens choice is very subjective, but I'd love to hear other's preferences and maybe even see some videos made with some of these lenses, if anybody has them. Sorry for the long request, and thanks in advance.

And it has CPU data transfer for metering on the 5500. The problem is that the money I'll spend to get lenses that will meter on the 5500, I could just get a D7200 or halfway to a D750. Hell, if I decided to be really frugal with my lenses, I could just save up for the D500 and have IBIS in 1080p and obviously cropped 4K... Of course I'm unsure of the actual 4K crop on the D500. Anyway, but yeah that Voigtlander looks gorgeous and I love what Geoff has been doing with them. Nah, probably not... I'll probably be fine with just getting the ai f/2 50mm or a 1.8 ai-s. Or maybe I just had a bad copy of the 1.4... They're so cheap with great resale, maybe I'll just try another... You haven't steered me wrong yet. I heard some good things about Cineflat and obviously the Flaat series of profiles... But as you said, that Nikon Flat is so nice and easy to grade and I definitely see some shadow latitude with it. Yup, I was looking at the D lenses for the on lens body aperture control, but I haven't seemed to find one videographer/filmmaker that actually likes the lens, so I'll probably just stick with my ai-s lenses, but I'll keep an eye open for that 1.4G, thanks for the heads up.

Yeah, it may have been. I had it years ago, back in my t2i days, so my memory may be tricking me or maybe it looks better with a Nikon. I guess for the time being I'll use the series e and then either pick up a 1.2, when I can find a good copy for less than $300, or maybe that 58mm Voigtlander. I had the 25mm Voigt when I had the G7 and it was a gorgeous lens. After using it, no other lens looked good on that camera.

What camera shoots higher than 60p in 4K?

Yeah, I had the K version and it was okay, but not great. Especially wide open. And as I said, if I'm going to buy a fast lens, I'd like it to be at least interesting wide open, I found the 1.4 pretty ugly wide open... But it's in my price range and it cleans up as you stop down, so it still may be an option. Do you have the ai-s or ai?

The 80D isn't bad. It has a higher bitrate than most Canon DSLRs at 1080p. Supposedly, it also has ML's interest. On the used market it resells close to new prices. It could hold you over for a little while as you raise the rest for a 1DXii.

Yeah, I may get a second mortgage to pay for that. If I'm going to get a fast lens, for lowlight, I'd like it to be decent wide open or have interesting character... At least the 1.2 has that dreamy look wide open, the 1.4 is just soft. After constructing rigs and modifying lenses and adapters for the BMMCC, I am honestly tired of DIY jobs for filmmaking. I am a cabinet maker by trade, so I'm sure I could do it, but I have little interest in working for my hobby. Not to mention my 50mm f2 is so clean, I'd hate to hack it up myself.

Basically everywhere. If my memory serves me only the K version gets really good reviews, but the ai and ai-s versions get only so-so reviews. Supposedly a lot of issues up and down the aperture ring and to top it off some unpleasant bokeh. I have a pristine copy of the f/2... It's a beautiful lens... One of the sharpest 50mm lenses I've ever used... I guess I could send it off to get AI'd, CLAd and have it declicked... That's an option. Do you know how much that all costs... Approximately?

Actually, I think I might have a a 50mm Series E. But I was considering a 50mm D lens due to their ability to meter on the 5500. Ok, thanks. I must have misunderstood the article or skimmed it too quickly... It was a while ago. Unfortunately, there aren't many fast 50mm options with good reviews. There isn't much love for the ai/ai-s f/1.4 and the 1.2 is crazy expensive, but the 1.4D gets decent reviews for its glass and IQ, I just fear that build quality. I was also looking at a couple zooms. I already have a Tokina 24-40mm AT-X that I really like, and its sister the 35-70mm, but I'd like a wide to medium zoom as well for run and gun. I saw the 28-50 ai-s and that gets decent reviews but I don't really want a push/pull zoom. Do you have or have ever used the 24-50 AF-D zoom?

Yeah, I figured the focus rings weren't that great. I have the 50mm f2 non-ai but I have heard that some non-ai lenses can hit the mirror on DX cameras, so I was thinking of getting a faster 50mm... maybe the 1.4D... Do you know how the focus ring is on that lens? I assume the D lenses are focus by wire?

Could you rent a camera specifically for that client. Because that C100ii will pay for itself in no time.

Did your c100 arrive yet... How do you like it?

Since there's all this talk about lenses for C100/80D I just thought I'd quickly say that I have a used 17-55 I want to sell and a Canon Refurbished 35mm f/2. I'll be taking some pictures and listing them in the sale section and on eBay next week.

Honestly, I think the 1DC would be the A cam to a C-100 B-Cam... But YMMV based upon how important DPAF is to your video work. They both have C-Log, so in that respect, they would work great together. As far as stills, I'm just starting to shoot them, but I believe other than the lack of DPAF, the 1DC would be a great stills cam.

Also you have to remember that the XC10/15 records 4:22 broadcast quality 4K footage in camera, plus 4:22 1080p. The C100 will only record 4:20 1080p footage in camera. So, technically the XC10/15 has better color than the C100 and matches the C300s capabilities... If based only on that spec.

In the end the operator and colorist will make this, or any, footage look good or not. I have seen great c100 footage and horrible c100 footage. I have recorded good XC10 footage and horrible XC10 footage. For the price, the XC10 is a great camera, and if you really look there is great XC10 footage floating around... A lot of which is in the XC10 threads on this site.

Running the camera in TV mode and riding the shutter speed will affect motion blur, so I personally wouldn't do it, but my intention for the camera is narrative filmmaking... For docs and event work, his method seems like a great approach. I think @kidzrevil changes the shutter speed instead of using nd filters, so take a look at his videos to decide how you think the motion blur looks.

Yeah, this is a cool test. I don't have any exact numbers, but I know a lot of TV shows use the C300, and I'm sure a few features as well... So the fact that an indie filmmaker could pick up an XC10/15 for around 2 grand and shoot at C300 level is astonishing and one of the reasons I bought the XC10.

How are you using a grey card when you are shooting this type of guerilla filming? I've never used a grey card for exposure or WB, so please be detailed. And are you using any zebras or metering to judge your exposure? I haven't shot too much in 4K with the XC10, but I'd like to start.

Has anyone used any of the Nikon D primes with the D5500, 5300... Or lower cameras? I'm pretty sure they will meter in camera but I just wanted to make sure... Also are the focus rings horrible?

Cool pans. The color looks great. Love the final Chuck Taylor shot. Btw, it does really look filmic.

Yes, there is a little latch you have to push down as you turn the adapter.

Has anyone used the Nikon 50mm 1.4G lens?