mercer

Re-read my comment you quoted... I didn’t say to use Rec709... Rec709 is the default in the Raw Panel... or maybe it’s SRGB... either way, I was trying to explain how Highlight Recovery can give you a little more dynamic range in Raw than you would have in ProRes. This function is particularly useful if you have a light in your frame... especially the sun.

@Shirozina okay let’s backtrack a bit... your footage is noisy? Why? I thought the P4K sensor was supposed to be pretty clean? In fact, there are only two reasons why it would be noisy... 1. You’re underexposing it. Are you using ETTR? 2. You’re not shooting at base iso. As far as DR between raw and ProRes... I think I may have some side by side examples from some old Micro or Pocket footage... I’ll have to check my drives. Although, I would think the extra bit depth with Raw would make the idea of “perceived DR” pretty simple to understand. As far as Highlight Recovery I’m Resolve... have you ever used the Raw Panel? Bring in Raw footage that ETTR’d and you should see it completely overexposed with the Rec709 default... change it to BM Film and your waveform will drop but in many instances the highs will still be flat (slightly clipped) click Highlight Recovery and you get the top end back... it’s one of the best features in the Raw Panel.

I think I really just miss my Canon 24-70mm f/4...

Messing with some older clips from my Canon 35mm f/2. I think my older copy was sharper.

I think the 12bit color depth gives the perception of more DR. Take a shot of a tree in CDNG and ProRes HQ and the texture of the tree bark in Raw will look more realistic and defined due to the extra shades of color. I also notice it with it skin as well. That isn’t measurable DR but it definitely looks better to the eyes.

Well... I am from Jersey...

The C200 can export a 10bit 2K Raw signal through the SDI.

The irony in that scenario would be that Magic Lantern did a lot of the work for them. How do you know they haven’t offered?

I just found this 5D Mark II ML Raw video by accident. It’s an ML Raw test from the early days. It is a test for a horror film so it has some graphic/violent content... in case that bothers anybody.

That first one could be a movie poster. Really good! Is that a frame from 4K BRAW? Which flavor? Do you notice a big difference in IQ with BRAW over ProRes? Any chance you have an ungraded frame from that shot? I’d be interested to see how much you pulled down the blacks.

Yes, if it wasn’t for the sheer size of that lens, it would be in my kit already. A fast wide zoom would serve two distinct purposes in my opinion... 1. As a set of wide primes... 2. A slow zoom in from 24-35mm on a person’s face to their eye could be a powerful shot. Of course, I assume it isn’t parfocal so it may not be an easy shot to get I’m not familiar with that Tamron but it seems like a good range... lol. Have you ever used the Tamron 28-75mm 2.8? I didn’t even know the lens existed until the other day. From the Flickr pages, it seems like a decent performer for its size and price. As I’ve said before, the Voigtlander 25mm 0.95 is one of the nicest lenses I’ve ever owned. It would be glued to my camera if I still shot M4/3. By the sound of your second choice it seems like maybe you’re thinking of going back to aps-c or maybe even to FF?

The biggest difference is the 5D2 is free for @Emanuel so it’s a win-win. Download ML and have a blast shooting FF Raw.

Great image! I love silhouettes. I always thought the RMC 17mm 3.5 matched it fairly well. I guess it would give you about 24mm 2.5 speed-boosted on the P4K?

As I’ve mentioned before, I briefly had the Tokina Angenieux and it was pretty great. At the time I had the Canon 24-70mm f/4 so it was a little redundant. I’ve owned a few Tokina and Angenieux lenses and they were all great. I still have the Tokina 24-40mm 2.8. It doesn’t get great reviews but I just love the build quality and the character of the images from it. And the Angenieux 15mm c-mount was one of my favorite lenses back when I had the Micro. Btw, how do you like it with the P4K?

@noone I’ve never used a TS lens but they sound pretty cool. That clear zoom function must be so useful. In FF, I could totally get by with one lens... a fast 28mm would give me everything I need.

Just curious... if you could have only one lens... what lens would it be? I guess based on what I own now, I’d have to choose tha Canon 28mm 1.8. At the risk of sounding corny, this lens always shows me how I’d really like to see the world. It finds the beauty and character in the mundane...

Wow, those look great... very... cinematic. Sorry for the bad word. I think I may buy that lens and give it a try on my 5D3. It has a sharp, modern look with that slight vignette and corner softness that adds that bit of character.

Yeah, that was definitely cool. And soon as I can find one for the right price... hahaha. Yeah, I just read that. I can’t say for certain but it looks like it was some variant of ProRes and not Raw.

Yeah, those look great. I briefly had that lens for my D5500 and really liked it but sold it when I sold the Nikon. Are those screengrabs from the P4K? I assume they’re Leica though?

Cool, thanks. I was reading the other day that the Sigma Art 30mm 1.4 will also work on FF with only mild vignetting but since I shoot 2:35, I don’t think it will be an issue at all. Plus it’s so mild, it would probably add some character. https://www.fredmiranda.com/forum/topic/1541382/ It looks good though. Thanks, interesting test.

Out of curiosity, what kind of work do you do that you need 10bit 4K?

I’m sorry but this just isn’t exactly true. Other than the 4K crop, the EOS-R has a lot of video features inside of it, including the highest bitrate, all-i video of any FF mirrorless camera. Sony is still using their paltry 100mbps codec. And unless you get the flagship m4/3 camera from Panasonic, you’re not getting much more in their $1000 camera as you do with their $500 camera. All of these companies suck. I’m not saying Canon makes sense with their choices, I’m just saying you can’t compare features from cameras that are 2-3 years apart. Canon has segmentation down to a science. They know exactly which users will buy what cameras and what features they really need. It’s just people like us that want everything from a $500 camera because other companies are trying to sell TVs. The early adoption of 4K will stagnate camera development for the next year. Hell, Sony hasn’t released an a7siii because they don’t know what to include in the damn thing that makes sense any more. It used to be that if they could add a few frames in burst mode and an extra half a stop in ISO performance, it was a decent model upgrade... now we’re actually discussing Panasonic and Sony offering 8K when they haven’t even given us great 1080p in their base models. You can only use one division of your company to prop up another division for so long. Hopefully, they really don’t believe that they have to jump to 8K video in the next evolution.

Because the M50 was released 2 years after the XC15.

This would be pretty cool if they made an EF-S to EF with electronics. I’d love to be able to use the Canon 17-55mm f/2.8 on my 5D3.

Yeah I would love a camcorder again. I’ve had a found footage movie idea forever that it would be perfect for... but the price. With the 10bit 1080p out... a Ninja Star or even a BMVA could be a nice little set up. The XA55 even has SDI. But again, the price.