mercer

That’s unbelievable. I wonder how many cameras are actually out in the wild... for all we know there could only be a hundred cameras shipped and the preorders are paying for each manufacturing run.

Yup, it reminds me of movies I grew up watching from the 70s and 80s. And yeah I remember now why I watch a lot of these videos with the volume down. Btw, congrats on your Vimeo Staff Pick... is this your second one?

Pentax lenses aren’t soft, I cannot imagine that would be it.

How do you like the Century Optics Anamorphic adapter? I’m looking for a simple Anamorphic set up for my 5D3 and it seems like the SLR Magic and Century options are the simplest... other than an Iscorama 36 or 54 but they’re way out of my price range. Btw, which Zeiss 25mm did you use here?

Actually... maybe it will be able to record to dng... I thought I remembered hearing it was for ProRes Raw... but I could be ProRes Wrong.

@Ingerson nice job, thanks for coming back to post it. Since we discussed this in a B&W thread, I must say I loved the crisp look of the B&W from the DVX200. How did you like working with that camera? Sorry to hear about your depression. I am not clinically depressed so I don’t want to minimize your condition by saying I get it. But I can appreciate it being difficult for anybody to open up and show their work... or even finish their work. There are times I just want to throw my camera across the room, sell all of my lenses and quit. Filmmaking is physically and mentally grueling and often it is lonely. Moving boulders all day would be easier and in some ways, more people would be appreciative of it. But there’s that drive or obsession to see what you imagined in your head on a screen. With that being said, I’m glad you finished and shared it. I watched it on my phone and was really impressed but I want to wait to get more specific until I watch it a second time on a bigger screen. So stay tuned...

I believe it’s for ProRes Raw which is currently only compatible with FCPX.

The difference in ISO is in ProRes only I believe.

Yup, that was the case with the Micro as well. I used 4400 as a sort of AWB and I would get better color with that setting and adjusting in post than I would trying to nail the WB... but I admit that could be user error. I admittedly had trouble grading BMD Film with the Pocket/Micro and eventually was one of the reasons I switched to the 5D3.

@BTM_Pix great test, you are always one of the most helpful and considerate members of this forum. Quick question.... Does IS from Canon lenses work through the Lens Regain?

Yup and if the Z6 didn’t have the IBIS, it wouldn’t even be worth it to me. At that money and size, I’m starting to get into cinema camera territory.

I was literally just wondering if I could use a ninja star for the 1080p Raw output but I assume the recorder needs to accept a Raw signal, so that will leave use with the Ninja V as the cheapest, smallest option... right?

I was so quick to dismiss it because of the external recorder but I truly forgot it had IBIS. So yeah, it's something to keep an eye on. For now I'm all set but maybe in the Summer or Fall I can find one for a better price and by then, I'll be working on a different project that maybe could benefit from 4K ProRes Raw... definitely on the list. Ehh... I'll probably just stick with the 5D3.

Yes, that’s true... IBIS does add to the equation. That Raw/IBIS combo could make a great home for my 35mm 1.4 and 85mm 1.4 ai-s lenses. I wish Nikon had more of a timeline for when the Raw output would be released.

This development won’t push me toward a Z6 purchase because I don’t like external recorders but I am glad to hear that Nikon is also offering a 1080p Raw output. It will make a great camera for a lot of shooters. Of course, I predict a lot of event shooters and cat shooters will shoot Raw just because...

You know, I’ve been dying to use my EF lenses with DPAF even in 1080p but to omit 24p from 1080p is so mind boggingly dumb that I am utterly confused. But the more I think about it, I should thank Canon because they just gave me another reason why I don’t need a new camera.

Idk, I think I like this camera. I love that they’re one of the only manufacturers that are offering actual 2K shooting at a high bitrate... is it all-i?

Shooting B&W will fix that right up. How much DR does F Log have?

Yeah this is just silly. I can’t believe it doesn’t have 24p in 1080?!?! Huh? I think what this proves is that Canon does not see low budget video users as a target audience at this price point. With that being said, I’m sure it will be a nice camera but they just saved me $600 because if I want Canon 4K or 1080p DPAF, I may as well just get an M50... 1.6x crop 4K crop on the RP or 2.5x crop on the M50’s... whatever. At least I can shoot 1080p at 24p on the M50.

Also, Canon Watch is reporting that the sensor is NOT the same sensor that is in the 6Dii.

Idk, from the specs it seems that h.264 is intra and MP4 is IPB.

That’s true, I’ve always liked ProLost Flat and Marvels and even Technicolor was pretty good under the right circumstances. And of course I purchased EOSHD C-Log a while back for my old M10, so that will work too. Lots of options. You’d give up ML Raw for this camera?

I do wish it had some kind of Log... even if they had a Flat Profile like Nikon has or a Log-Lite. But all in all, I’d have to say that for the price, Canon delivered here and this could be a purchase for me. I don’t really understand why anyone would try and compare the a6xx Sony series to a Canon FF Camera? Even with a 4K crop, it’s still a FF camera for photos and 1080p.

So after looking at the specs, it appears that h.264 is intra frame and the MP4 is IPB? Or am I reading it wrong?

I used B+W but I think Hoya makes one that’s a little cheaper. I’ve even heard of some really cheap Chinese ones on eBay but I don’t know the quality. I think Tiffen or somebody makes a combo IR Cut Variable ND that could be useful. Also remember that the Pocket has a lanc input, so you could pick up a native zoom lens and work it through the lanc. And the IS on some of those 14-42/14-45mm zooms are pretty good. Just remember to get a cage that has cord clamps, the ports on the side of the camera are very fragile.