mercer

Here are some more test shots from the Zeiss 25mm 2.8 ZF “Classic” lens... I’m in the process of picking out a new monitor, can anyone suggest the best/easiest/quickest color calibration tool... Spyder?

Idk, I love the stuff you shared from your C200. Whatever you were doing in the beginning seemed to be working... has your workflow changed? I used to color in FCPX, but then I started messing around with Resolve and because I could, I’d complicate my color workflow to its detriment. Now I’m back to using Resolve as a transcoder and basic Raw corrector... WB and exposure... and I’m using the color board in FCPX and I’m happy again. So maybe try a simpler workflow? Btw, I forget... did you ever test the Raw signal to 1080p ProRes via the SDI out? I’m still really intrigued by that. With all that being said, I really like what I’ve seen from the EVA1. @Zak Forsman makes his sing. Also, if you’re thinking about a change, I know some EVA1 users have a GH5s as a B-Cam and I know you were thinking about going back to a DSLR/DSLM form factor, so that could be an option as well... Or maybe even a 1DC?

I’ve bought stuff from 6 Ave. They are a brick and mortar store in N. Jersey... or at least they used to be... I haven’t been up that way in a while. But they sell Grey Market cameras. And the points are not cash back, they are credits to use on other purchases through Rakuten... I think. With that being said... that is a great deal and if I had a little extra cash lying around... I would seriously consider it. And with that being said, I’ve never purchased a big item from 6 Ave and I’ve never purchased anything through Rakuten. So I can’t vouch for them.

I shot a 48p 720p test on my 5D3 last year and was pleasantly surprised by it... That 50mm Nikkor is great piece of cheap glass. It pairs nicely with the 28mm f/2 because they’re both so contrasty wide open. Does the 4ak upscale in MLV App take a long time to process?

Those look amazing. They could be screengrabs from the film. Great job. What lens did you use and what is your grading workflow with ML Raw?

Messing around with some more footage from the Zeiss ZF 25mm 2.8...

Don’t be too modest, you shot one of the best 5D3 ML Raw videos out there.

Yup... his AF test, and conclusion, between the GH5, a6500 and C200 was the last video of his I watched.

Yeah, right... not to mention the matte box. I wish a company released a hood that had movable sides like matte boxes have.

I read the description of the Laforet video and I’m glad to hear that BM fixed the highlight rolloff issue that a lot of people complained about in the earlier models.

I rely too much on shallow DOF anyway. After watching Jaws, yet again, I really enjoyed Spielberg’s use of deep focus mixed with camera movement and blocking... so I may start exploring a slightly different style that doesn’t require AS MUCH shallow depth... so DPAF may not be as necessary. Since I am a one man band operator, I may look into a GlideCam or gimbal to get a little more dynamic, kinetic energy into my filmmaking. I’ll eventually rent a C200 but I don’t really have a need to right now but perhaps next summer after I’ve wrapped up these projects I’m working on.

I think he has made it quite clear that he is referring to Full HD recording and you guys just keep attacking him for it.

I’m working on some teaser trailers, so hopefully I’ll have some clips to show by the end of the summer.

I get that, who wouldn’t want more DR? I’ve just found, in most instances, 12 is enough for me. If I’m being honest with myself, which I try to, any limitation I currently have, has more to do with my own skills than the 5D3. Obviously, DPAF would make my life easier and smaller file sizes, but ML solved that with 14 bit Lossless and I’m getting double the storage now. I’m also slowly building a small, BMMCC rig for certain projects where ProRes LT or 422, to SD cards, is more than enough... plus I get to dust off my small collection of c-mount lenses. I hear you about the 5D4, I’ve been hoping for a breakthrough, but I don’t know if the interest is there. Everybody at ML seems more intrigued with the smaller cameras. I think I read that one of the guys has stopped working on the 5D3 to concentrate on the M50. To add about DR on the 5D3, I think the 14bit color offers a little more texture which gives the perception of more DR. For instance, in this frame, the texture of my actor’s skin would be way smoother with a compressed codec that had more DR than the 5D3 so, with my limited tech knowledge, I can only attribute it to the extra color tonality of 14 bit...

What dock?

Haha... it’s all part of the story.

Nikkor ai-s 35mm 1.4

You’re in luck... I have cats that sit by the window. I wish I was in the market for one because you just described every scenario that it would be a blessing for me.

I think we’re playing in different sandboxes. Ha. I’m playing with a 4 digit budget... but trust me, I understand your points and needs... I waste a lot of time and takes tracking the talent manually only to be off at critical points. Luckily, I shoot a lot of coverage, so I can always cut to a different angle when necessary. To me, it sounds like you’re describing a C200. I know, @HockeyFan12 has a C200 and experience working on real sets, with Alexa’s and Reds, so maybe he can chime in here.

To everything... there is a season. Although I completely agree with you, I think we’re spoiled in a lot of ways and I’m noticing it more and more as a newer generation of shooters show up on this forum. I’d love 16 stops of DR and DPAF with internal Raw and/or ProRes but those specs won’t make me a better filmmaker. I’d love an IBIS mirrorless that has the latitude of an Alexa Mini... but then what would I strive for and work toward? 1080p is still more than enough for me. Even at a little less than 12 stops, the 5D3 still blows me away. With that being said, I’ve recently found and posted some trailers from some micro budget, indie features that really impressed me... This was shot in ProRes LT on the OG Pocket with one lens... And this was shot on Raw with the OG Pocket... This is the kind of work that inspires me and for the price of the Pocket/Micro, the Micro will make a more sensible second camera for me right now. Or maybe that new Z-Cam E2C but there are a lot of unknowns with it. However, I do wish Arri would enter the sub-$10,000 market with a camera that includes some of the features from the Alexa Classic in a more shooter friendly form factor. No matter how many Alexa comparison videos are marketed on YouTube, I still don’t think anything even comes close to the Alexa... but BlackMagic is getting closer.

With the 3K/3.5K, I found keeping the shutter angle at 180 degrees and the choppy live view to be way too restrictive for the end result. But the 14 bit Lossless is insane... it nearly doubles my storage and seems a touch sharper than uncompressed. Yes, please post some side by sides when you get a chance. The X-T3 has a nice look to it and I love that it shoots cinema 2K at a hefty bitrate. I almost bought a BMPCC 4K, but it seems there’s something missing from the original Pocket/Micro that I wish it had. With that being said, it does have a beautiful image and I’d love the convenience of ProRes and FCPX. I’m looking to build a small Micro Rig for those times I want to shoot with my c-mounts and have a simpler post workflow. No, I don’t know of any but I am heading out this weekend to “officially” test it for my film, so I can probably put something together for you next week, if that helps? Just let me know what type of footage you’d like to see.

I would have agreed with you, if they didn’t release the GH5s... anything over $2000 with a m4/3 sensor is pushing the market limits IMO. And since Fuji released a S35 camera for $600 cheaper only a year later proves that... again IMO.

I agree with most of this but in hindsight, with the release of the X-T3, the GH5 should have cost $1500 at release... $1000/$1250 now. The GH5s should have been $2000 at release... $1500/$1750 now. The S1... $2000. The S1R... $2500. And finally, the S1H... $2999. I mean as you said, the G90/95 is barely an upgrade from the G80/85 and it cost $400+ more at release... Also, the G90/95 should have the high bitrate, all-i 1080p. The S1 doesn’t even have it... Panasonic is doing some strange things. It seems like they’re protecting lower models?!?! I don’t care what anybody says about IBIS and professional environments... the GH5s should have had it!

@The ghost of squig welcome aboard, I think you’ll find this place very hospitable... I just started using the 14bit Lossless from the experimental build and am pretty floored by it. It’s breathing new life into the camera. While others are jumping ship, I feel reenergized by the camera. Do you know if it’s available in the Nightlies too? I found the 3.5K to be too buggy and the 3K has too much of a crop, so I don’t really need to run an experimental build if the 14bit Lossless is stable on a nightly.

All joking aside, I’ve always found that a camera hanging from a strap lets you shoot from the hip and inconspicuously so. With the SmallRig screen mount that Mattias has, he can turn the monitor vertical with the screen facing up and get some great shots without anyone the wiser. I’ve shot some great in public shots for my film from the hip... only without the luxury of looking or glancing at the screen.