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@kidzrevil I would have to agree with that. It has its quirks, but once I figured out it is a hybrid auto/manual camera I started appreciating those little quirks. Do you still have your NX1?

You're still thinking about getting the C100ii?

Gotcha. Then that's probably why I haven't seen it. I usually keep my ISO at 500 and use the 180 degree shutter. Other than the ghosting, now that you've had the camera for a little while... What are your thoughts?

I haven't noticed it. Are there any consistencies as to when you've seen it occur?

Good to know, I like inconspicuous cameras. I think I have tested nearly every brand of cameras this past year, and I've learned I still like Canon the best, but I've been dying to use this Flat profile, so hopefully the D5500 will be a tool I will keep for more than 6 months.

Dang, that's a good test! Does the 750 have more DR than the 5500? As you may have read, I picked up a Pocket last week and have used it a couple times with the Panny 12-35mm, all handheld. I used the focus button to grab quick focus and then the ring to do any racks. So far, it seems like a nice set up. The OIS is good, the screen is fine with focus peaking, except the camera is getting excessively hot. Almost too hot to hold. I haven't seen any hot pixels, but I'm not working it that hard either. As usual, the footage looks great... Minus the noise inherent with BM cameras. But as I have been looking at more and more footage, it almost seems redundant with my XC10... The ProRes files do not seem to be any better than the 1080 files from my XC10 and nowhere near as good as the 4K... But the S16 feel is so prevalent with both cameras, it seems like I am getting nothing more out of the Pocket that I don't already have with the XC10... Minus lens selection and Raw, but I have no real plans in shooting Raw with Pocket. So, I'm not really sure I see the point in keeping the BMPCC. Since the camera is running so hot, I think I'm just going to return it and the lens. On a whim, as I sometimes do, I ordered a D5500 yesterday and after watching your comparison video and a few other videos, I think returning the Pocket may definitely be the right call for me... Especially since I already have a small collection of Nikkor lenses and Tokina zooms.

Thanks, am curious how flat it actually is. From reading about the profile on Nikon's site, Flat seems to really help open up the shadows, which really excites me since I work within the horror/thriller genres. But I've seen some highly saturated videos online, so I was wondering if the profile was slightly saturated to begin with. @Inazuma posted some OOC samples a while back, but I can't seem to find them. Anyway, thanks.

Hey, everybody is different with different needs. I, personally, don't know why someone would buy that beast of a lens for a m4/3 camera... Especially since it will be used as a set of primes. The OP could get a set of great primes that work natively with m4/3 for about the same cost as the Sigma and a focal reducer... But different strokes for different folks. In my opinion focal reducers are great for vintage, full frame lenses and in most instances the Turbo ii is perfectly fine. In fact, vintage lenses for video did a comparison test between the two and they were basically indistinguishable. Personally, if I wanted a good zoom lens used in conjunction with a focal reducer, I would look at the Tokina 28-70mm f2.6 angenieux designed lens... What I'd lose on the short end, against the Sigma, would be gained on the long end and open up the iris right around the perfectly cinematic f/2 range... with a manual aperture, on the Nikon version, that can be declicked... But that's just me... Everybody has different needs.

Is Nikon's Flat profile good at its default settings, or are other tweaks needed to get the most out of it? I assume sharpening needs to be dialed down, but what about Saturation... Do certain color channels clip on Nikon's, so a saturation adjustment within Flat is helpful in the long run?

Honestly, part of the issue is probably me... I really need to spend the time and watch some tutorials on correcting and grading. I just get so excited to mess with the clips, I never get around to it... So I am probably going about it all wrong. Thanks for the tips!!! That's how I used to expose with my old Canon's and then when I moved to Panasonics I went with zebras... But then went back to meter exposure... I would usually underexpose by a stop though... But with c-log I understand you want to expose for your highlights, so I will definitely give this method a try. Thanks. Interesting, I never thought about that with the 70% zebra setting... Great point!!!

Thanks, I'll have to give it another go.

I just had a look at your Vimeo page and you have a very impressive portfolio. You're a wizard with that D5300 and D7100... Really nice work.I know the Nikon's are supposed to have clean shadows, but I didn't realize how clean until I saw your narrative pieces. How were you exposing? And judging your exposure?

Did you use 100% zebras? I haven't used the cam in a few weeks, but when I first bought it, the 100% zebras seemed really difficult to pull back the highlights, so I switched to the 70% zebras and thought that worked fairly well... But I have read that others are using 100%.

Great tip, I'll give that a try... Thanks! Also, are you exposing to the right with c-log... I have heard a bunch of conflicting methods.

Looks good... I almost think I like the 1080 Panny look better than their 4K.

I thought c-log didn't have any noise reduction? Hello Claudio and welcome. It's always good to hear from another XC10 owner. I believe @Lintelfilm uses the Ninja Star with the XC10, but I am very interested in hearing about your results or seeing some footage of the pair.

Yeah, the added monitor turns the micro into a monster. I picked up the pocket and the panny 12-35mm. With OIS on I can go handheld and I look like some tourist taking photos. It's so much fun. I have a Meopta 20mm, which I think may just be the Vega 20mm in a different housing. It's quickly become one of my favorite c-mount lenses... Sharp as a tack. I just wish it had a normal filter ring size. But I'm really trying to downscale everything. I have too many lenses and too many cameras. I just want a simple set up for the Pocket... The 12-35mm, maybe the 20 or 25mm... Maybe. And then a small handful of c-mounts. I already have a complete collection of Cosmicar 1.9 c-mounts... The zebra lenses and they are awesome. I'd love to set up the Fujinons because I really like the lenses, but it's too much trouble getting them modified, or modifying them myself... This was also an issue I had with the micro... Half my time with it was rigging it and figuring out DIY set ups... It became a culture of modification when I just want to easily get footage. With my current Pocket/Panny combo, the biggest issue is charging batteries and choosing whether to shoot ProRes or Raw. Sorry Omar for the off topic.

I just picked up a pocket, am selling my micro and you ain't kidding, the menus are so simple and straightforward. I just don't know why it's such a big deal that somebody wants a C100ii instead of an FS5? It really just comes down to personal taste. I have no interest in rigging cameras, so I bought a pocket to replace my micro. To a lot of others, the micro is the obvious choice of the two. I like the easily accessible Canon colors and menus more so than the Sony variety, it doesn't mean Sony is bad, just different tastes.

I haven't seen it once, but I mostly shoot in HD on the wide end, but I exclusively use 5-Axis and I have whipped the camera around fairly fast. If I'm not mistaken I remember reading in the manual that ghosting can occur on the long end, but it seems you guys are noticing it even on the wide end? If it's ISO related, then I may never notice it because I rarely go higher than 500.

I watched the trailer. And I am blown away... It looks great. Honestly I don't think 4K would have helped the look of this film at all. Congratulations on a great looking trailer. I look forward to watching the film!!! Damn, I wish the D5500 would drop just a little bit in price. If you are considering a 4K upgrade for your next film... I suggest you stay within the Nikon ecosystem... Maybe a D500. Btw, I would love to hear some production notes... More about camera choice positives and negatives, lenses used, lighting, sound equipment... Anything really. Thanks and good luck with the film.

Obviously, those prices reflect the used high end video camera market in Sweden. I assume the law of supply and demand dictates some good deals to be had if you're in the market and you have patience.

I thought the same thing except an XC10/Pocket combo... not necessarily for the same project. But there's just something about that S35 C100ii image.

Yeah that looks brilliant. I am sometimes half tempted to sell every camera and lens I own, except my Canon 35mm f2, and buy one.

With all due respect, I couldn't disagree with you more here. Chances are Omar was doing very little color work with his Canons and since he uses them and his lenses for paid gigs, why would he want to switch to a whole new camera system, at FS5 money? The C100ii is a good upgrade that will get him work and get him to the next level of color and equipment.

Slightly off topic, but speaking of ML Raw Viewer, I just learned that you can process raw files from the BMPCC with it. Probably not the most ideal workflow, but for a quick and easy process, it's pretty cool. You can also convert them into a variant of C-Log, SLog 1 & 2, etc... I wonder if it could be a way to match footage between different cameras.