mercer

Well, right before I saw the announcement, I was listening to a Film Riot interview with David Sandberg (Lights Out) and he mentioned that while on break filming the feature version of Lights Out, he snuck off with a couple actors and his Pocket cam to shoot some B-Unit stuff for the flashback sequences. And once in the editing suite, the editor couldn’t tell the difference between the Alexa footage and the Pocket footage and only the Pocket footage ended up in the final cut. Real stories like that, of affordable equipment used to their utmost abilities is what excites me... a FF GH5 with fans and vents for $4000... ehh... not so much. But it may have external HDMI ProRes Raw as soon as Atomos figures out how to do it... sounds promising. When do we find out more about the FP?

After today’s Panasonic announcement, I found solace in this thread... Although, I am certain the S1H will be an amazing camera, I am so glad that Blackmagic recognized the desire for good old fashioned 1080p raw and ProRes over 5 years ago. But times change and sadly spec wars have become the norm for the foreseeable future. Oddly enough, I kinda smiled when I learned there wasn’t internal Raw in the S1H because even at $4000, these large manufacturers cannot offer what BM offered 5 years ago at a quarter of the price or what the Magic Lantern team figured out 6 years ago in a full frame camera. I will admit that the first company that can offer internal raw and IBIS or DPAF, for less than $2500 will get my money. And here’s to hoping that Sigma will sell the FP for less than $2000, even though I suspect it will be closer to $3000.

I saw that too but they also only listed 120p for Full HD... so maybe this is just an instance where they omitted the words “up to” for some strange reason?

Haha, thanks. For single-coated lenses (or zero-coated lenses) the Rollei Zeiss’ are something else. Those binoculars really have a mid-century, robotic feel to them but I would have been happy with A New Hope look, let alone A Force Awakens! The Rollei Zeiss 25mm is one of the oldest lenses I own (it’s older than I am) but its flaws and its strengths make it one of my favorites. I even spent a little extra by putting a Leitax EF mount on it. Don’t get me wrong, the Zeiss ZF lenses are gorgeous and I find them to have an interesting mix between clinical and character but you don’t really notice it until you get the images into post. With my Nikkors, Rollei Zeiss’, and even my Samyang 50mm, I can see the lens’ qualities on the LCD while I’m shooting. Btw, if you like that 25mm, I’m pretty sure the Contax version is the same optical formula, just with better coatings. And if you like the Zeiss Jena, East German lenses, you have to try the 35mm 2.4 and the 50mm 2.8. What they lacked in quality control, they surely made up in image quality.

I can only speak for myself, but slapping on a Sigma Art lens or Canon L is a great option and I probably would have been smarter going that route instead of testing lenses for the past 6 months but whoever said I was smart. However, in the process I learned so much about what was important to me in an image and I realized I really needed less, even if I wanted more. What started as a goal of having 10 good lenses with 3-4 sets amongst them, I realized I only needed half that.

No, not without an external recorder. But with the experimental build and 14 Bit Lossless, file sizes are dramatically smaller without any loss in quality. Also if you use MLVFS file system for post, the files open up in Resolve without any transcoding to DNGs. The whole process is really quite simple now. Honestly, all Zeiss lenses, I’ve tested, work great with ML Raw. I’ve tested Rollei Zeiss, Contax Zeiss and the ZF Classics. Although, the newer ZF versions are a bit sharper, I prefer the West German made Rollei Zeiss. I find they have the perfect mix of sharpness, color separation and character with my 5D3. Here’s a frame from the 50mm 1.8... And here’s a frame from the 25mm 2.8...

I know a lot of folks love to ride Canon and think this is hilarious but this is not a good trend. Canon is still the number 1 camera company and bullshit like this could easily filter down to the other companies. Panasonic and Sony have already started limiting features in their lower tier cameras and the 90D is hardly a lower tier camera.

So when they released the M100 or the GX7 Mark ii or even the a1200 years ago, they were willing to pay these millions in licensing fees for 24p and obviously all a1200 users were no budget indie filmmakers requiring 24p per Canon’s market research. Now I am kind of a Canon fanboy but this is just ridiculous now and explaining away the desire for 30p is just silly. And I think you’re wrong, people love the idea that they can shoot their home movies in a similar way the professional Hollywood films are shot... in fact, Canon used that as a marketing tool for years.

I really don’t care what frame rates people shoot on but saying that 24p is only for cinema wannabes is so silly and goes against the entire point of the digital revolution in the first place. Cinema wannabes could easily say that people who shoot in 30p should just buy a camcorder because they obviously do not care at all about visuals so why both using an ILC. The reason for Canon omitting 24p from these cameras is way worse than protecting their cinema cameras... it is a sign that they are protecting their R line and what they don’t understand is that they’re taking away inexpensive options for young and poorer people to have access to an affordable 4K/1080p narrative tool. If they don’t have an ecosystem for these filmmakers to upgrade, why would they ever buy an R camera or a C series camera.

Shit... I have none of those things. How much does skill cost? My mistake, sorry.

Here’s the link to the site... https://www.back-bone.ca/rx0-mod/ If you have the company supply the camera and perform the mod, it’s $1399 for the RX0ii. If you already have the camera and just buy the DIY kit, it’s $399. Here’s a how to video for the RX0 DIY mod... This is the instructional video for the RX0ii mod... And here’s their promo video with some footage... The c-mount to d-mount adapter makes up the difference... I suppose since the mount width of d-mount lenses are so small, the adapter is inset into the camera. The video I posted above was shot with D-Mount lenses... so I assume they know what lenses they shot with.

You're right, which is even worse, but I just picked a round number. Yeah... nobody shoots 24p...

Yeah, the 90D is only showing 25p and 30p as well... Canon is nuts if they actually think they can sell a $1000 camera and not have 24p.

I don’t know if you’re familiar with the Ribcage Mod but it’s a kit you can buy to change out the stock lens on your GoPro to accept M12/C Mount/D Mount lenses. Here’s an instruction video for the GoPro 3... They also make kits for the Yi4K+ and even a kit that adds a Micro 4/3 mount to the Sony RX0. If you’re not mechanically inclined, the company will do the mod for you on a brand new camera they have in stock. I’ve been wanting to get one of these for awhile since I have a slew of old D Mount lenses and C Mount lenses. If the RX0 kit/mod wasn’t so expensive, I’d do it in a heartbeat. Here’s a video on their website from a GoPro with D Mount lenses... I can’t believe how sharp those old, Kern-Paillard D-Mount lenses are. I have a mint set of them collecting dust in my closet... maybe I’ll pick up a modded Hero 4 or 5 to give them a little go.

Shijan makes them. Really great stuff. If the BMMCC was going to be my main camera, I’d probably invest in the entire kit. Btw, he’s also the filmmaker behind the awesome boxer film you embedded in your original post.

I haven’t watched it yet either but here’s my guess... the Alexa’s 2K looks better than the BM’s 6K and whatever the Red Raven shoots at. Ok, I just watched the first couple minutes and became quickly bored when I saw that he wasn’t even using the same lens on each camera.

Native ISO is 800 on the Pocket and Micro and it has been highly recommended to only shoot at that ISO.

Please don’t advertise you’re an American, it makes the rest of us look bad. Hahaha... just kidding. I’m almost convinced Skip77 (and possibly ZachGoodwin2) are alter egos of somebody on this site having a laugh.

Thanks, Kye! I appreciate that. I know how important the details of an image means to you so I hold your opinion with high regard. Btw, I think it may be all of the above but it looks like my 5 lens collection just turned into 6... damn.

As I’m sure everybody knows by now, at the end of the shooting days, for my film, I get my lead actor to hang out a little while so I can test out a lens. I’m trying to have a lens or two for every one of my favorite focal lengths. The other day, after we filmed a scene, I wanted to give the Samyang 50mm 1.4 another chance and I’m glad I did. As BTM said a dozen times, Samyang lenses really pull more than their weight...

Sweet, I’ll see how my MacBook Air handles the files. I’m going to hop on the computer tonight and install the plugin while I still can. Lol. Does Red have a lot of sample clips on their site?

I do not believe that is true, otherwise I would be taking my MLV files directly into FCPX. However, I think Skip might believe that all Raw is the same, which we know it is not, just like he is confused with the stutter, judder, flicker 24fps debate. So, in short, I don’t think Skip is having the same conversations we are having and rather than acknowledging that, he is doubling down and grasping onto single words in sentences to save face. In other news, how did the Redcode files from the Raven get along with your computer?

Don’t confuse my lack of caring as “riding the fence.” I come to this site to learn and to discuss filmmaking and filmmaking gear, not to argue with people that are incapable of admitting when they’re wrong. 24fps has a stutter/judder, end of discussion. It is a fact! In all honesty, the word FLICKER, is probably a better choice, but with semantics aside, 24fps is anything but smooth. https://www.filmindependent.org/blog/hacking-film-24-frames-per-second/

I don’t know about that, but I get your point. The dynamic range is pretty great in that short.

Thanks, I guess I better get that plugin before Red forbids FCPX users to access it. Dont worry, I already went a round with that guy and I really don’t have the time, or inclination, to debate basic camera operations and the history of 24p in cinema with someone who will cherry pick one word in a sentence to try and prove his argument. Thanks, but don’t go too crazy, I base a lot of my opinions on mojo. Btw, I recently used the Samyang 50mm 1.4 on a shoot and I think I may have a hard time parting with that lens. Lol.