mercer

After a weird winter of weather, some family health issues and some financial issues, I am finally ready to resume production on my film. The financial issues forced me to sell off the two lenses I was using. After a few months of digging through my closet and testing almost every lens I had, I finally settled on two lenses I didn't have but cost me a fraction of what my original lenses cost. Here are a couple examples from a final lens test I did the other day with my lead actor.
The first two are from the Canon EF USM 28mm f/1.8...
 


And the next two are from the Canon 50mm f/1.4...
 


Both are great lenses that cost me a lot less than one of the lenses I was using before.

I think @TheRenaissanceMan and @Zak Forsman have a set of LeicaR. I briefly had the 35-70mm f/3.5 but I kinda liked it too much and couldn’t see myself affording many primes to go along with it.
@JordanWright

Most can.. but some definitely have trouble believe me lol.. also depends on direction style. our main narrative director loves doing improv takes and changing camera angles on the fly. can drive DOP/focus puller crazy at times but that's what it sometimes takes and why manual is still invaluable in certain situations. Of course that all means a production budget though.
That being said Canon's dual pixel is amazing in it's accuracy and smoothness. It really looks natural and I've pulled off some rack focus shots that would have been tough without a focus puller. It can't do the multiple point thing though which is interesting, assuming it works good enough.
AF in video is a big thing for me now and again especially on focus by wire systems. One of the main reasons i'm hesitant to go back to Fuji to be honest.

Here’s a quick screengrab from an outtake of my film. I don’t really love the shot but it shows what a fast wide angle can do on FF. 
It was shot on the Canon 28mm 1.8 ... pretty cool little lens. 

Here’s a quick screengrab from an outtake of my film. I don’t really love the shot but it shows what a fast wide angle can do on FF. 
It was shot on the Canon 28mm 1.8 ... pretty cool little lens. 

I remember an interview they had like 6 months ago their biggest problem was no sensor existed that didn't have too much heat in a small package for doing 4k. Maybe they are using the same sensor that is in the GH5s, and Kinefinity? I am sure Sony would be willing to sell it to them. But maybe it won't work in a small body either?

Here’s a quick screengrab from an outtake of my film. I don’t really love the shot but it shows what a fast wide angle can do on FF. 
It was shot on the Canon 28mm 1.8 ... pretty cool little lens. 

Here’s a quick screengrab from an outtake of my film. I don’t really love the shot but it shows what a fast wide angle can do on FF. 
It was shot on the Canon 28mm 1.8 ... pretty cool little lens. 

Jon your not the Moderator anymore, and I can see why, so I don't think your reply's that belittle people on here ought to continue. Maybe You need to go to DPR. If you have a problem keep it to yourself. You Used to be able to respond in a civilized manner, hell if I know what has happened, but I am not fond of it.  I consider a lot of people on here as friends. Maybe it's time you took a break, a long one.

Here’s a quick screengrab from an outtake of my film. I don’t really love the shot but it shows what a fast wide angle can do on FF. 
It was shot on the Canon 28mm 1.8 ... pretty cool little lens. 

Here’s a quick screengrab from an outtake of my film. I don’t really love the shot but it shows what a fast wide angle can do on FF. 
It was shot on the Canon 28mm 1.8 ... pretty cool little lens. 

Yeah I would assume that it’s a Micro 4/3 sensor. But I could see them doing an EF Mount instead of m4/3. 

Here’s a quick screengrab from an outtake of my film. I don’t really love the shot but it shows what a fast wide angle can do on FF. 
It was shot on the Canon 28mm 1.8 ... pretty cool little lens. 

Here’s a quick screengrab from an outtake of my film. I don’t really love the shot but it shows what a fast wide angle can do on FF. 
It was shot on the Canon 28mm 1.8 ... pretty cool little lens. 

Fuck specs, let's just hope it has Mojo™. 

Maybe it will have a Micro 4/3 sensor. Maybe a swappable mount. I am very excited for this but I doubt it will be in the original price bracket.

I couldn't believe it either.  After many years/times it was a yes, no, yes, no, maybe, no, yes, n...
Well, I think It. Is. Happening!!!
We'll know by Monday.

sure. it's a made up word. when in Rome, no?  regardless of the terminology and what causes motion(put your favorite descriptive word here..... blur, judder, etc...) it doesnt change the fact that truly world class Dp's are discussing "it" in a thread with cadence in the title if you have not visited the link in prior posts.
  regarding my own fiddling, which is already admittedly unscientific in every last way, the F35 was always chosen. why? I attributed it to the ccd vs cmos but who knows?     
 
the love comes to an end quickly!

Micro management turned up to an 11!

You guys should just go out and buy an entry level Canon then. Why spend thousands upon thousands of dollars on cameras and native lenses? I mean, it’s all up to the operator, right?
Obviously, I was being sarcastic there and obviously all of the points that talent and skill will make any camera look good are valid and probably the most important ingredient to a cinematic image.
Now if only Hollywood Line Producers were reading this thread, then every film from this point on could be shot on a (insert consumer camera here)

You guys should just go out and buy an entry level Canon then. Why spend thousands upon thousands of dollars on cameras and native lenses? I mean, it’s all up to the operator, right?
Obviously, I was being sarcastic there and obviously all of the points that talent and skill will make any camera look good are valid and probably the most important ingredient to a cinematic image.
Now if only Hollywood Line Producers were reading this thread, then every film from this point on could be shot on a (insert consumer camera here)

It makes no sense

You guys should just go out and buy an entry level Canon then. Why spend thousands upon thousands of dollars on cameras and native lenses? I mean, it’s all up to the operator, right?
Obviously, I was being sarcastic there and obviously all of the points that talent and skill will make any camera look good are valid and probably the most important ingredient to a cinematic image.
Now if only Hollywood Line Producers were reading this thread, then every film from this point on could be shot on a (insert consumer camera here)

Interesting, I really think all-i frames probably make a difference as well.

Proxy is low bitrate 8bit that is recorded on the SD card along with RAW:

https://www.usa.canon.com/internet/portal/us/home/explore/cinema-eos-c200-cameras/recording