mercer

Me too. I'd go C200 over the C70 for a crop sensor camera. That RawLite image is beautiful... I'm hoping the rumored XC20 with internal Raw is real. But then the cost of media is pretty pricey. I've never used a 1DC, so I couldn't really say, but from what I've seen online, it has one of my favorite 4K images. I considered an X-T4 a few months ago and I think it has a beautiful image. The h.265 codec is a bit of a bummer for me, but I'm used to transcoding footage so it isn't a big deal. In the end, I found myself too consistently pleased with the images I am getting from my 5D, so I decided against it. Although I would love to have IBIS and face tracking. Another option for you could be the Sigma FP. I don't shoot stills, so the electronic shutter could be problematic... I can't say. But it definitely has that nice, thick raw image... The price is right with the FP, but it seems to be a storage hog. Even the 8bit internal 4K raw... actually looks really good. This was shot by @markr041 But the file sizes are almost twice as heavy as 5D Mark III file sizes... even in 1080p. But the size of the camera is sooo appealing. Shooting handheld with the 5Diii and the 24-70mm f/4 L can get a bit heavy after a while. Noam Kroll gave the Canon M50 Mark II a pretty good review. I'd imagine it would be pretty good for travel and family videos/photos, but I don't know how great it would intercut with ML Raw from the 5Diii... and it has a near S16 crop. I think I'm in a similar situation. I wouldn't mind an upgrade, and although I only work on narratives, I'm still just a hobbyist, so any kind of change isn't really an upgrade in IQ... especially for YT/Vimeo uploads.

Just my opinion, from my experience, but if you like the ML Raw image from the 5Diii and don't mind the workflow, I think you'll have to spend a lot more money to be happy. @TomTheDP was absolutely correct when he wrote, "5D MK3 with magic lantern is about as nice of an image as you can get..." With what is on the market now, I really think I'd need a C200 or 1DX Mark III to warrant an upgrade. YMMV

I just wanted to let you guys know that Color Finale released a plug-in for FCPX called Transcoder which processes CDNG, BRaw and Arriraw files. It also works with CDNG files transcoded from Magic Lantern Raw .mlv files and it will even recognize MLVFS. It's on sale for $38 today until midnight. I haven't seen it mentioned here before, so I figured I'd share. The controls are fairly rudimentary, but they've already updated the plug-in a couple times, so who knows how extensive it will become. Just to give you an idea, here are a couple sample shots I came up with after processing ML Raw files. I had to do a slight contrast and saturation adjustment in the Color Board... otherwise they're processed completely in Color Finale Transcoder... Zeiss ZF 50mm 1.4... Sigma 50mm 1.4 (older version)

She's pretty smart, by the 3rd or 4th month, she'd probably catch on... I wonder how long it would take for her to realize her car isn't parked out front. That could get me halfway there.

Is sensor envy a thing? What struck me the most about the 100c video was the depth in the frame... for a two-dimensional image, it feels like you can walk into the frame in some of those shots. It's pretty wild. When you add the texture from the raw image, the 16bit color and the advertised "15 stops of DR" I don't know if there are many cameras that can top that look. I'm sure my 2014 MB Air would cut right through those files... haha.

BH has one for $18k... I'm trying to figure out how long I can convince the GF that the supermarket was out of food.

A Hasselblad H6D-100C? It's way above my pay grade, but man that image looks incredible...

I think I like the idea of all those Fuji dials more than I'd like them in real life. An ISO and WB button is more exciting to me in practice. The GH2 was amazing... you could see that something special was happening on the screen when you hit record. I even enjoyed my brief stint with the GH3. That all-i codec was really nice and the ergonomics felt a little more refined. I've never owned a 4K camera that I really enjoyed using. The GX85/G85 were okay and kinda fun to shoot with, but I went from the G7 to a D5500 and was ecstatic... until I tried ML Raw on a 50D and got hooked. I still want to give a 1DC a try one day though.

Go back to basics. I've watched a few of your older videos recently, the ones you've had on your banner, and your old reel... ... is simply gorgeous and holds up very well! Even your hacked GH1 videos look amazing. I assume you don't want to go back to a GH1, but if you're not gelling with the newer cameras, pull out your 1DC. Or go back to your roots and shoot with a couple of the newer budget cameras... the X-S10 seems really good. The E-M5 Mark III has all-i 200mbps 1080p. Even the GX9/G95's 4K crop offer some interesting opportunities to shoot handheld with some funky, old S16 lenses. Or go the opposite direction and rent/buy a Komodo or C500 Mark II. I've been considering an FP, an S5 or an X-T4; and although they are all great cameras... I am more inspired when I pick up my 5D3. It doesn't have IBIS or AF... or even 4K... but that raw image just makes me smile and the camera is an extension of my arm at this point.

I was thinking about that. The footage from the 1DX3 looks fantastic. I'm kinda hoping the R3 will either be cheaper, or drive the price of the IDX3 down.

Now that's a rig. I'd love to see some footage from that lens. Which SuperSpeeds do you have? I think that French short with the kid in car was shot with SuperSpeeds.

Are there any, current or former, 5D3 ML Raw users shooting with the FP now? In some ways, the FP feels like a sidestep, but there are some features... shutter angle, waveform monitor, dual gain iso, the smaller size, etc... that makes it very appealing. However, I still feel like the FP would be an intermediary, or side camera, for me until there's a true 5D3/ML Raw equivalent camera upgrade released. The R3 sounds very promising... but also very expensive.

I've been thinking about buying an FP or S5 for the dual gain option. Have you tested it with the FP? I'm mostly interested in the internal recording modes, so I'm curious how well it works with the 8bit CDNGs? I understand it's part of the architecture of the sensor, just not sure if the bit depth would have any effect on the color information even with a dual gain sensor camera?

But I don't think you can go wrong with any real Zeiss lens. Even the old Rollei Zeiss lenses were pretty special. Especially the ones made in Germany.

I think I was wrong, it's been a while since I've looked at the lens either. I think they only made AEJ and MMJ versions. So all of the 50mm 1.7 were manufactured in the Yashica plant in Japan. The later versions were the MMJ. Hopefully you see a green f/16 marked on the aperture ring. I think I had a serial number in the 7xxxxx range and it was really good. But that was waaay back when I had a G7 on a dummy adapter... Good Luck! I just bought a Zeiss ZF Classic 50mm 1.4. It's now the 3rd one I have owned. I got it for an UNBELIEVABLY good price, but it isn't perfect with a few particles in the glass. When I attached it to the camera, I didn't notice anything weird. So all in all, not bad at all. I'm probably the only one, but I prefer the Zeiss Classic line over the Contax.

Is it an MMJ or an AEG? You can tell by looking at the last number on the aperture ring. If it's green, then it's an MMJ. Also the later serial numbers are supposed to be sharper versions, but I believe they're the ones in the 8xx... range. The AEG versions will have the sawtooth bokeh. I've owned 2 or 3 over the years. The first one I owned was unbelievably good. I don't remember which version I had. I never paid more than $125 for one, but I haven't owned one in a few years. If you pair it with a 25mm 2.8 or 28mm 2.8, I think it's a great little Zeiss set. And then eventually, if needed, you can get the 35-70mm 3.4 to fill in the gaps... if you don't mind a push/pull zoom.

This isn't really accurate. Perhaps you are confusing the use of a full frame mirrorless camera in the film, The Possession of Hannah Grace, which was shot on a Sony a7sii. Here's a brief rundown of the history of full frame in Hollywood films up to and including the DSLR revolution and the increasingly popular Alexa LF... https://www.google.com/amp/s/www.creativeplanetnetwork.com/resource-center/full-frame-sensors-everything-you-ever-wanted-to-know-but-were-afraid-to-ask%3famp

Thanks Parker, I appreciate that. I'm still a reader, I just need to film more stuff. Cool Panavision t-shirt, btw. If your channel takes off, you can make some Parkervision shirts to commemorate your maiden voyage.

That was an honest way to start off a channel. Good job and good luck!

Did the original GH5 have 24/96 audio? If not, then that's a pretty good little upgrade... especially if you use the XLR adapter.

Throw in an L Mount adapter with an internal ND.

The GH5 Mark II really only needed to be a GH5s with IBIS and ProRes Raw output.

Although I wish the BMMCC had a small monitor on the top like the Komodo, I still prefer it over the BMPCC. I usually shoot ProRes, but I like that it has the 3:1 compressed raw and the 60p. The miniature cinema camera form factor also looks kinda cool. My rig is almost complete... I may eventually buy a BGH1 for a similar reason, especially with the new Tilta rig for it... I'd lose the baseplate/rods and the top handle and throw a Ninja V on their for some ProRes Raw. This looks pretty good... But I digress, I kinda like the infuriating form factor of the BMMCC.

Yeah, the price of these lenses have skyrocketed. Have a look at the asking price for the nFD 24mm f/2... it's over $1000... that lens could be bought for around $200 a little over a year ago. They've gotten so high, I am seriously considering selling my EF modified 50mm 1.2 L.

No problem. I'm unsure about the S5's hertz settings. I know there were some issues with other Panasonic cameras when you set to true 24p but since you're set to Pal/25p I don't think that should be the problem then. Are you noticing the flickering with all lettering, or just on letters/numbers on electronics? vLog is a nice profile and since the S5 uses the full log profile, it should be pretty good. But Panasonic has a couple nice profiles that can be a bit more forgiving and still offer a bump in dynamic range. I always liked Noam Kroll's settings for CineLikeD and Like709 seems to be pretty nice as well. But don't give up on VLog yet. The S5 has Dual Native ISO, so if you set to the higher ISO in lowlight, then that should help with the noise. Then you can either stop down, or use an ND to lower your exposure.