mercer

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?

Between a speedbooster and a dummy adapter, the 18-35mm seems to be a good, fast, all purpose lens for the P4K. How is the Takumar on the P4K in ProRes?

Well now I want to see how the 18-35mm looks on the Ursa because it does indeed look nice with the P4K. Nice work matching them.

At least you don't have to reformat the card every time you switch between Raw and ProRes. I vaguely remember having to reboot the Micro if I changed formats... but I may be remembering a nightmare or something. @Turboguard @BTM_Pix Thanks Anaconda!!! I just had the chance to take a look at these. The ProRes looks good... 1080p would probably be more than enough for my needs. Thanks for sharing them. Did you shoot them in Video mode or was that after a BM LUT was applied?

The Sigma 18-35mm paired with the Sigma Art 30mm 1.4 could be a good combo? The 18-35mm for your bread and butter and the 30mm when you need that extra half stop of light. But if you are thinking ahead to a possible FF mirrorless camera, then maybe the Sigma 24-35mm f/2 could be an option although you'll lose the wide end on S35... then I guess the Sigma Art 20mm could come in handy. Tough call... I used to only shoot cropped sensor and then when I switched to FF, I had to rethink all of my lenses. Now that I have that sorted out, it's hard to think about going back to a cropped sensor.

For a very long time S35 has been the goto for most Hollywood films, so instead of looking at it as a negative, accept that you're in good company. And in most cases, there is an EF option for a wide angle FF equivalent.