mercer

I believe there are a couple options, involving changing the mount on either the t2i, or the canon lens. But it should cover the sensor.

why this one?

I didn't know you had a G7, how do you like it? Do you have videos from it on your YouTube page?

I also have been interested with trying ML Raw. I have an eos-m I may load it on. Obviously the 5D has the 1080 Raw and there is some great looking footage out there for it. You also cannot go wrong with old Nikkors. I have a set of non-ai Nikkors and they are some great lenses. I also have a set of FD lenses I may sell. I have the 50mm 1.4, the 28mm f2, the 17mm f4 and the 35-70 f3.5 zoom. Amazing lenses, I hate to get rid of them, but I may need some extra cash.

That is fair, I remembered it incorrectly but, as you said, how is 10 grand for all? For big productions, I can see how the Raven will be useful as b and c cams, but for lower budget... Why would anyone bother when there are so many other, lower cost, options out there? Is the Red codec and IQ that much better? But, in the end, I can only speak for myself.

Looks great! Very cool!!! Did you shoot this in an actual bar, or was it green screened?

What happened to 4K for 4K?

M2... Are you using the canon eos-m2?

I haven't really been following this, but it seems like they're getting somewhere, but I had a hard time finding any quality videos showing their progress. It seems like it's still a ways away until it's stable continuous raw video. Unless I missed something?

nice. I am thinking about getting either the fz1000 or the fz300. with the ibis and my cage, i should be rock steady.

I use this cage, minus the rails. I attached a strap to it and then keep my elbows tight to my body while I keep the strap taut. It works pretty good with a wide angle lens. http://www.amazon.com/gp/aw/d/B00QI6Y3X0/ref=pd_aw_sbs_421_1?ie=UTF8&refRID=1DTTBTA732CY06ZKB35X I don't have the rails, but I was thinking about getting some parts from Hondo Garage to set up rails and a follow focus.

Good stuff! Once again, especially in the beginning, it felt like you were going to turn a corner and find a dead body. The building of the soundscape helped as well. It seems like you have a good combo here... the flares are insane.

Did Canon steal your lunch money as a kid?

I know a lot of interest is on the GH4 V Log, but I just came across a video on YouTube from a gentleman named Martin Wallgren. Apparently, he has had a preproduction model of the FZ300 and his results look fantastic... On my phone... https://youtube.com/watch?v=6AzrltvaeJY I have been interested in picking up the FZ1000, if and when the price gets down to around $500, but after seeing this video I may end up getting one of these instead, especially since it may get closer to my price point quicker than the FZ1000. One of the reasons I am interested in the 1000 is due to its IS, which I thought was 5 Axis in 4K? The 300 only does 5 Axis in 1080p. According to Mr. Wallgren, the 300 handles IS better in 4K than the 1000 and the crop factor is smaller, but the sensor is smaller as well, so you take the good with the bad I guess.

From the interview, something like that seems like the only possibility. Unless, their gonna go the Pentax Q route and make a small, "fun," selfie camera. So, since that makes the least sense, that's probably what they'll do.

Well, if they're not ready for 4K, then what could they possibly do to make a really enticing mirrorless? Full Frame? Doubtful, because it seems like they are boosting their ef-m lens line up. Maybe a cine-mirrorless that shoots 1080p CLog?

It is possible for Canon to release the eos-m4K camera at around a 12-1500 price point. I would love to see a scaled down version of the xc-10 in the eos-m sized body. Or even a camera that shoots 1080p clog

Yeah, this piece looks great. The DR is amazing. You could put this on your demo reel.

Here's a lens test I did with my Minolta MC 35mm f/1.8 Although I really like this lens, I got a good deal on the MD 28mm f2, which makes more sense with my NX500, so I decided to sell this one. I am going to list it on the gear page later and also on eBay, if there's any interest.

What I like about this video has little to do with the look... Even though both versions look cool. I like the mood... It almost feels like you are going to turn a corner and find a dead body in one of those alleyways.

If you have LUT Utility or Color Finale, you can use LUTS with FCPX. You can get a Cineon LUT from VisionColor through their Impulz Collection, but I think you have to get the Ultimate Package. There probably is a solo Cineon LUT floating around the super highway but I couldn't find one after 10 pages of Google search. Ed David had a whole post on Cineon last week.

Thanks, 59 bucks isn't bad at all for a quick run and gun or scratch track. I don't do wedding videos but I would imagine, it would be perfect for those as well.

Looks great, any word on price?

Not a fan of 0 saturation in this camera. Even in a custom profile, it has a plastic look. But yeah, I have to run some more tests... I'm gonna go back and try the settings another poster used with his music video mix of nx1 and nx500. His results looked pretty good.

Sekhar, I think you may be right and it is the lenses. I don't think my Canon FD lenses play well with this camera. In fact, I thought the above shots were with the Minolta lens, but I went back and looked at my notes, and I think I used an FD lens. I was just looking at more footage I shot a couple weeks ago, and I think it looks pretty good. So maybe the entire issue is lens related... which is weird because I never had such a problem with Canon cameras regarding lenses affecting the color palette so drastically. Here are some shots using the Zeiss Jena 50mm f/2.8 lens. Sorry about the shakiness, just grabbed some quick handheld shots to test the lens.The first few shots I dialed down the saturation all the way to mess around with in camera black and white. The last few shots the saturation is at -2, sharpness at -10 and contrast at -5. I did tweak the highs, mids and lows in color finale using the waveform as my guideline and just bringing the highs and lows to the upper and lower lines, or just below. Also, I imported 4K prores version into Final Cut, instead of downsizing it to 1080p when I converted it to prores. It was delivered as 1080p to Vimeo.