mercer

Yeah if you can get clean 1600 or 3200 out of any of these cameras, then you should count yourself lucky. Maybe I’m too old, but I still cringe when I go over 800. And in most instances the image does suffer a thinness when I do.

I just like the idea of a two handed steadicam. I’ve been looking for info on the Flopod for the past week or so for the same reasons.

You are not kidding about having more than enough equipment. I have enough lenses to make a movie a month without having to use the same lens in more than one film for a year or two. I appreciate the kind words. As a hobbyist I’ve been lucky to be able to build my film as I go along. I don’t recommend it and I don’t think I would do it this way again but it was so organic with this film that I think it will be a benefit in the end. I’ve seen a lot of work from that guy and he tends to make any camera he shoots with sing. I believe he DPd Noam Kroll’s recent feature film and even his RX100V footage is pretty spectacular looking. I think he has a P4K now and I learned from his IG page that some of my fears... IR pollution and the red channel clipping are real concerns that he recognizes. Hopefully they sort that out, luckily I have a camera that I feel gives a relevant image for the next couple of years, at least. If something better comes out and I need that something better, then I’ll upgrade... until then, I’ll use lights if I need better lowlight. And to think he used the 12-35mm 2.8 lens in that film. I’ll be interested to see what Sage does with the GH5s when he incorporates GHa into it. What he’s done with the GH5 made me a believer... even though I still think the Alexa looks better and he should just use that camera to shoot a film. Lol.

You may be right, but I vaguely remember an article or interview stating that Canon will not release an ILC without 4K video going forward. I mean, their $600 M50 has it.

@anonim I have really been warming up to the GH5s lately (except for the yellowish greens) and if I was seriously in the market for another camera, the GH5s would be at the top of my list... or if Panasonic would give it Raw signal output. For the time being, what I have is more than enough.

I can understand how that would be annoying but a lot of manufacturers, unfortunately, do that. Look at the a6300/a6500 or the GH5/GH5s, in both instances an arguably better camera was released 6 months after the original. With that being said, I doubt that Canon will have Canon Log in the RP... which they should, but knowing the way they segment these cameras, it’s unlikely. But... there was a rumor a while back that Canon was going to release a 7D version of their R mirrorless line that was going to be more video oriented but since most of the specs that have leaked aren’t video related, I doubt the RP is that rumored camera. Once again I am left with waiting to see a spec vs price aspect of the RP. For me to even consider getting one, it needs Canon Log, 4K DPAF and I’d like a S35 crop at the most... although crops don’t really bother me all that much. The icing on the cake would be IBIS but that is so impossible it’s not even worth hoping for.

Lol, was that a serious response?

@Sage do you have any matching, ungraded shots from the Alexa in LogC and the GH5 in vLogL?

It looks really cool and I was going to back it but all of the $199 offers were sold out and I don’t know if I really want to pay more than that for it. But I do like the design.

Looks good. Are you in the Northeast? It snowed here last night too.

Well, it’s actually closer to 1.7x but still. Yeah I don’t love the crop but as far as 4K quality, the eos-r actually has the highest bitrate all-i codec that no other FF camera offers... as far as the crop... take two steps back... lol.

The eos-r exports 10bit. And unless Atomos has an exclusivity agreement with Nikon, I assume Canon may have a ProRes Raw export option in the future as well.

Yup, I could argue that Panasonic is the worst. Look at their 1080p... on the GH series... they offer all-i 1080p up to 60p at 10bit. Even at 8bit, it’s solid. But their G series, even the expensive G9, doesn’t offer that 1080p codec. The GH5s doesn’t have IBIS and is explained as not having it because one production company got some micro shakes when the GH5 was attached to a car rig... lol. Nikon won’t meter ai-s lenses or offer zebras on lower level cameras. Sony is using the same low bitrate 4K codec for almost 5 years now. All of the manufacturers protect their higher end, and some protect the sales of their lower end. It’s called business.

That’s really good news. What’s the highest frame rate you can get with them. Ever since I started shooting with a camera that requires CF cards, I have a dozen SanDisk 95mb Pro cards sitting around. It will be great to get some use out of them if I ever decide I want to pick up a P4K. Let us know how it works out. Good to know, thanks. I was actually fairly impressed with some of the LT I have seen from the P4K, so even if I was forced to shoot slow motion in LT with the SD cards, it makes the camera an easier pill to swallow for me. Good to know, thanks. I guess I vaguely remember reading about that when the P4K was announced but that seems like a lifetime ago. As a whole, do you feel the camera was worth the wait? And how barebones is your set up?

You should let me know how to do it. I’ve only shot MLV so I don’t know? Did you shoot your short film in regular Raw and not MLV? If so, is there a reason why? With MLV App, I keep it pretty basic. I turn off the Raw corrections because I found they take forever to render with them on and otherwise I will fix any WB issues and then choose LogC and tick highlight correction or whatever it’s called. Let us know if you do any 3.5K shots and how they turn out. I’d rather have the FF 1080p than a crop and a dodgy LiveView but I am willing to drop down to 12 bit if I could get a little extra resolution like 2.5K with minimal crop... but I don’t think that’s possible. I’m hoping they figure out the 5D4 so I can get some better slow motion options and perhaps a bump in resolution. For now FF 1080p Raw is more than enough for my needs.

Thank you! The actual shot turned out pretty nice. I was able to do a rack focus just as he appears in the window and since my story entails a symbolic union between ghosts and memories, even an over used rack focus can play into the narrative.

1.13 is fine. Do you still have ML installed on your camera?

You can shoot 4K ProRes HQ to the SanDisk Extreme SD cards?!?

Well regular crop just requires you to load the module that is already in the firmware on your camera. In the menu scroll all the way to the right where the module tab is and then click to load crop mode. When you restart your camera it will be loaded, then you just use the magnify button on the camera. I tried the experimental build but couldn’t figure it out. I had something set up wrong but not enough time to eff around with it, so I went back to the normal nightly build.

Do you just want the regular crop or are you looking to test the experimental 3.5K modes?

The C200 has a Super 35mm sensor... the crop factor is 1.4-1.5x. So the 20mm would technically have a FOV around 28-30mm.

@heart0less some of my favorite ML Raw videos were shot with the 5Dii. Check out Northmen on Vimeo for some beautiful samples. For the money, I think you made a great choice.

On your Leica camera? I’m not too good-like with riddles...

Isn’t the M Mount from a Leica camera.

Wowzer!!! Is that the Leica Look I’ve heard so much about?