mercer

That is a good deal... just make sure it doesn’t have any of the magenta issues that plagued some of the earlier models. In all honesty, with the work I have seen from you, a Micro and an Ursa 4.6k, may make the most sense. Why bother screwing around with hybrids if your intent is narrative filmmaking? Especially if you can afford it. Thanks, for the tip. Luckily I still have about 8 old SanDisk Extreme Pro Cards... the 95mbps ones... that are sitting around collecting dust. Weirdly, those cards and the money they cost me, at the time, is one of the reasons I am thinking of buying another one. I also have been crazy impressed with the ProRes films I have seen recently shot with them. And after looking at some of my older footage, I remember the appeal of those cameras. I still love my 5D3, but not every project requires the storage space and workflow required with ML Raw. Plus I have a slew of c-mounts lying around just waiting to be mounted onto a camera again.

I feel the same. That video of the fog looks great. The video of the boats man looks great... but they both look like they could have been shot on a number of different cameras. That BMMCC short is truly spectacular and there are so many narrative works shot with them... features and shorts. I think a new thread is in order showcasing narrative shorts and features from the BMPCC and the BMMCC. This way we’re not polluting this thread, while still showcasing very worthy works by the narrative filmmakers that shot on the earlier BM cameras. The image is more than relevant today and worthy of showcasing. In fact, I am seriously considering another Micro or Pocket camera. At the prices they’re going for... it’s really a no brainer.

The Micro was designed as a POV Action camera and since the film is supposed to be seen through the eyes of that character... his POV... I’d say they used the right tool for the job.

Thanks, do you know how BRAW 12:1 compares to ProResLT? If not, if you get a minute, and are inclined, could you run a test?

Do you happen to know off hand how many minutes 1 TB of 4K DCI ProRes LT are?

I wanted to watch this twice before I commented. And I think I want to watch it again, on a bigger screen, before I get too detailed. But I will say, I think you did a great job, Kaylee! I love the simplicity of your shots... compositions... the handheld static shot is very powerful. Your use of frame, not only in a shot but how it would edit with the next shot left me feeling sad for the characters. I also thought all of the FX were well done. It was cool to see your earth shot come to life as it did. Very cool!!! I think even after another viewing, the images and connotations will haunt me for a little bit.

Nice job, I liked the color a lot. If this is you studying, I look forward to what you do when you graduate! What lens(es) did you use?

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.