mercer

Really nice!!! That's what I was thinking. That lens pops.

Yeah, it's a nice lens. I have the MD version and the Rokkor-X. Am actually selling my Rokkor-X copy on eBay.

Yeah, I just saw this over at BMCuser. Definitely the best design I have come across for the micro. I've been using a half cage designed for the pocket cam since both cams share the same height. It's been working nicely for me, but that preorder price is almost too good to pass up. Of course I am really surprised no company has come out with a hinged design so you can mount your monitor directly behind the Micro and have it tilt up and down like a regular LCD would on mirrorless cameras... Or even better yet, a battery/monitor in one that slides directly into the battery slot of the micro. The cam is so small, it's a shame to have to rig it up into some monstrosity.

Thanks I'll give that a go. It seems like there is not enough distance from the inside edge of the inner mount to inside edge of the outer flange. Does metabones notoriously make their adapters a little tighter than the average adapter?

I downloaded some c-log from it and I was surprised how easily it graded... And I am not good with color... Especially 8 bit. Also from looking at videos on Vimeo, it seems like Wide DR is pretty decent, but the other profiles seems like you take a hit in highlight DR. Of course, with the c-log being so good, there seems to be little reason to use anything else. I have owned a couple 4K cameras in the past and I always converted the footage to 1080p ProRes before bringing it into FCPX, but with these files, the c-log 4K played well with proxies on my computer. And it seems if I was going to use my old method, I may as well shoot in 1080p, cause it's gorgeous and you get the benefit of 5-Axis, SD cards and 60p. Anyway, thanks for the info.

Is the photo with the Minolta 28mm the f/2.8 version or the f/2? I have the f/2 and it's one of my favorite lenses of all time and coincidentally, or not, that was my favorite photo you posted as well. Very nice. The ibis really is stellar. What were your settings and post workflow?

Very nice, it worked great. I am contemplating picking up the XC10. I recently bought the BMMCC, which is an amazing camera except for anything run and gun. I miss being able to have the camera in the passenger's seat and pull over to grab some shots. I also have an opportunity to shoot some small events as a B or C cam to some C100s. I watched a few of your other Lynn University videos and loved how seamless the XC10 footage integrated with the rest of the footage, even with the BMCC 2.5. So I would use the BMMCC for anything small and controlled... Micro shorts and the XC10 for larger, run and gun pieces. Are there any quirks you have encountered?

Okay I gotcha, I thought you were just setting up the cams and pressing record to get the coverage.

Really nice work. I read that you used a Rode VideoMic Pro, did you have to use the +20db function?

I bought a Metabones c-mount to micro 4/3 adapter a while back because the beveled design allows for more lenses to fit without modification. I purchased a few Cosmicar TV lenses, the older f/1.9 zebra versions... Amazing lenses by the way. Well, I needed the adapter specifically for the 25mm and 50mm and it worked perfectly on my old G7. But it won't work on my BMMCC... What's up with that? This adapter was $70 and it will not turn onto the mount.

Andy, it looks great. I understand for time and budget constraints, multi-cam is a good option for getting coverage, but did you find that you lost any narrative point of view?

Thanks. Good to know. This camera just keeps impressing me. I found a small C Log clip online and it was a joy to grade with a lot of info lurking around.

Does anyone have any ungraded C-Log from the XC10... 1080p and 4K?

Sorry, I know this was an old comment, but is the HD downsampled internally from 4k like the C100?

Looks good. I have that wb plug in as well but I haven't tried it in a while... but i remember having the same opinion. My friend loves their grain, but i haven't tried it yet.

I desaturated to b&w to correct exposure, then raised the saturation to -5, and balanced the mids, then did a curve and raised my blacks a touch, then pulled my lows a touch towards yellow and my highs a touch to blue. Of course i have a sneaking feeling I may need to calibrate my screen...

Great choice, I have loved that camera since I learned what 4K was.

@Inazuma do you happen to have any footage available, for download, from the GX80 and from the D5500 Flat profile? I would love to give them both a go.

Such conflicting opinions. I primarily use vintage lenses and one thing I did notice with the G7 and now with BMMCC is that the crop factor sometimes crops out some of the character of the lenses and since I will primarily use vintage lenses for stills as well, I wonder how much that will come into play? Honestly, I am completely in the middle on this one. I also have a couple small paid gigs at the end of the summer that will affect my decision based on the video side of the camera.

Good to hear. I don't need huge prints, or anything, just have been enjoying photo essays on Flickr and I figured if I want to start with stills, that raw would be the way to go. Do you think the D5500 would be better for stills than the GX85? I don't necessarily need 4K video, but the ibis is a major selling point for stills and video, I'd imagine? I do really like the video image from both cameras... That D5500 flat profile is simply gorgeous and it has a mic input. Ugh too many decisions. Thanks for the reply!!!

So, about 2 months ago I was ready to sell off a lot of my lenses and my few cameras and purchase this little guy. As I was patiently waiting for it to be released, my short screenplay turned out better than I expected and I happened upon some videos from the newly released BMMCC. Since my script requires a fair amount of slow motion, I opted for the higher DR and 10bit color than higher resolution 4K and 5axis stabilization of the GX85... Even with the learning curve, I am happy with my choice. But I have a few smaller projects that have a more run and gun nature and the BMMCC is a lot, but it isn't a run and gun camera. I've also seen some amazing videos from you guys, with the GX85, with fantastic color, in some ways better than previous Panasonic cameras and in a lot of ways more Canon like. So while I was getting acclimated with the BMMCC, I have missed out on a lot of the discussion regarding this little beast... Needless to say, I have a few questions that may be answered quicker than me reading 28 pages of forum discussion... If someone would be so kind? 1. How is the IBIS with non ois lenses? 2. When I had my G7, I occasionally used my Sigma 19 & 30mm 2.8 lenses. The AF button worked like a charm for quick set ups. From memory, the GX85 does not have a dedicated AF button, but can one be assigned to one of the FN buttons? 3. I have recently become interested in stills photography, but now lack a camera to shoot with, so is micro 4/3rds a viable stills camera as well... Specifically the GX85's raw capabilities? So since this would truly be a hybrid camera for me, can you guys recommend it, or would something like a Nikon D5500, with its aps-c sensor and mic input be a better hybrid option?

Since it is with a high profile musician, why not rent the C300 ii and buy the C100 mkii for B-roll or in case something happens with the C300. But I don't know if the rental cost and purchase cost exceeds your budget? If you can swing it, the C100 mkii, at the current price is just a money maker... Or maybe even an XC10. You can do a lot with that little guy.

Beautiful. I liked this a lot!!! Such rich colors. What cameras did you use?

Look at the shorts that were accepted into past festival years, and then be honest with yourself. Some of the 1st tier festivals have shorts playing in them with a hundred thousand dollar budgets shot on Alexas. Now that doesn't mean your short wouldn't do well at such a festival, but if you look at the competition from previous years, you can sometimes gauge what type of material they're looking for. Or if you want a good gauge of your short, you can always enter it smaller international or foreign festivals as that usually has no affect on the US premiere that the majors are after. Or you could also show it here with a password protected link to get some opinions, then ask for PM critiques.

I'm just saying if I had the choice between the C300 or the Ursa Mini, I would consider the Ursa Mini... An extra pound or two and some extra media costs wouldn't change that. Of course, I have never shot a professional documentary... So what the hell do I know. But I am glad we both agree that the C100 mkii was the best choice.