Lintelfilm

Thanks M Carter. I have a Lastolite WB/reflector thingy and my GH4 can do RAW or I may even try raw video on the BMPCC. If I can find the time I might do a video on these lights for others to judge for themselves.

Not sure what I said here to contradict that - Flaat 11 is fine (as far as profiles on the D5300 go - it doesn't turn it into a different camera it just gives a touch more dynamic range). Regarding grading, I was speaking relatively - for a 24 Mbps 1080p 8 bit image it holds together surprisingly well. But it's no match for 4K on a GH4/G7 and on a different planet to a BMPCC. 

No, if you use the profile Flaat 11 (which you don't have to) the darker areas are noisy, even in daylight. I used NR to fix this.

Weird that the official BM picture uses HDMI to connect the Micro and Video Assist rather than SDI ...

That's almost exactly the same as the C100 Mark II.

The Ursa Mini 4K is £1765 before VAT - £35 cheaper than the BM Production Camera is at CVP!

Do you know is the YN600 rated at 5000K like the YN300, or 5500K like the YN300III?

Good point about the gels - I think I'll try that (the orange slot-in's for the YN's are weird. Very far from tungsten.

I owned a G6 and a D5300 at the same time. I now own a GH4 (and BMPCC). There's something nice about Nikon colours and the full S35 sensor is nice, but overall the G6 was simply the superior video camera (IMO). The D5300 is a pain in the neck to shoot with and by today's standards not that impressive in image quality. You have to expose by guesswork based on the LCD screen - it works pretty well but not exactly ideal. I sold my D5300 and G6 to buy the GH4 and I haven't looked back. Personally I think the GH4/G7 sensor  & colour science is a step toward the Nikon look from the G6. Actually I miss the G6 more than the D5300 (that GH2 sensor still has something unique about it). For stills the D5300 is far superior - but then you absolutely need modern AF lenses (AF-D don't work), which aren't any good for video really. Panasonic's cameras aren't perfect but they are made for shooting video on and that counts for so much in my book. The G7 is a great stills camera too.

To placate the D5300 fans here (of which I very much was one and still am to some extent), I do think that if you're mainly shooting portraits with shallow depth of field and wide, deep DoF shots are not important, then the D5300 is great choice. And yes you can absolutely work with the usability issues. But for my work it was too problematic and the soft wide shots made it not very versatile, so I just wasn't using it much. It says a lot that I now have my BMPCC rigged to be infinitely easier to use than the D5300 ever could be. But horses for courses ...

From memory using Flaat 10 is pointless (by admission of Samuel Hurtado who made it - I chatted with him a bit on DVX when I had my D5300) you might as well just use the standard profiles. Flaat 12 and 13 start destroying the image, so basically just stick with Flaat 11 if you want maximum DR.

I just remembered I think that Flaat 13 isn't in the standard set (?). I think Samuel sent it via email for me to try. I may still have it somewhere if anyone wants to play with it but it's really quite pointless IMO - very noisy in a really ugly way.

I need to look into a reliable way of testing their CRI. Can I do it with just a grey card?

Yeah I always diffuse. As I say I have a three-hotshoe umbrella holder - if I want a lot of light I put 3 lights and diffuse with an umbrella. I also have white diffusion gels that I peg onto the barn doors, which is smaller/neater than the umbrella setup but less diffused.

The YN600 fan makes a lot of noise - I'd go for two YN300 III's instead and just mount them together.

I meant I see no downside to the YN-300 III as far as LED's go (not of LEDs in general). You can pay "a lot" of money for LEDs but - to my admitedly limited knowledge - these seem to compete with the best LED's for very little money.

Yup they're great. Make sure you go for the mark III version though. They're a step above the old 'mark one'.

They take Sony NP-F batteries, which can be bought for peanuts on eBay. The NP-F970's (the largest ones) last well over 2 hours.

I just bought a pair of Yongnuo's new YN300 III LEDs for £40 each. They're 5500K, 95CRI (apparently), flicker free, with barn doors (good for pegging diffusion to), dim-able and so far live up to the description. I've owned one YN LED panel for a year or two and its served me well. These new ones can be linked wirelessly so you can use one control for all of them. I use three together on a three-way hotshoe/umbrella light stand clamp, so have got 900 quality LEDs with no noisy fan for £120. I'm struggling to find a downside to this setup for daylight stuff...

Flaat 11 is fine as long as you put the contrast back in. I don't like using LUTs because they're destructive and inhibit creativity. imagine if Van Gough went to the paint shop and bought a restricted set of colours someone else had chosen for him? Unless you've exposed all your images perfectly and you're in a real hurry to get the job done they're pretty pointless IMO.

Same for me on iPad. Commenting sometimes requires a few "clicks" in the commenting box. Also I on iPad I can't scroll up and down in my comment box so long comments are impossible. TBH I just don't comment when on the iPad ...

So the moire in the net curtains is completely eradicated by the VA (or caused by the UHD transcoding)?

Difference in focus makes it hard to draw any conclusions. Artefacts in the shadows (inside house) look much less in lower image but that could be the soft focus?

The D5300 does NOT have 14 stops dynamic range. You can make it pretty flat and get a look with noise reduction that perhaps mimics about 12 stops, but your midtones go out the window and the image becomes mushy and soft. As you can see from that video you linked to dynamic range is very similar to the 5DIII. I compared DR to a G6 a while ago and it was pretty identical - the D5300 was capable of a little more (half a stop perhaps) but because the image is very soft, you want to keep contrast in it to compensate (the brain reads contrast as sharpness) so it becomes irrelevant. 

This was my attempt to get as much DR out of the D5300 as I could (using Flaat 11). It took a lot of work with noise reduction and subtle(ish) use of film grain to get these images appear to have decent DR. Not worth it in the end - and if you put people in the frame skin looks like a flat piece of orange paper:

The nice thing about the D5300 is the colours and at only 24mbps you can grade the crap out of it:

The Micro Studio Camera is not good to pair with anything "in the field". It's for a studio, period. It's not a camera to try rigging and hacking for other uses - you'll be disappointed if you do. 

Weird. It looks too clean of a line to be optical to me. Have you tried adding filters and flags/hoods to see if that changes anything? Perhaps also using the internal ND's? If this changes things it might indicate that it is an optical issue I guess.

It's clearly caused by the blown light areas (the two guys' heads on the bus in the other thread are crazy). If it's natural light coming in the bus window it's not flicker that's the problem. My guess would be that this is a processing issue of some sort. The line just looks too clean and uniformly horizontal to be flaring to me. I don't know what you can tweak on the C100II - I'd try turning off/down any auto functions (e.g. noise reduction) to see if that changes things. Are there any auto DR settings?

Yeah lets hope the Micro Cinema Camera needs less fixes by the end user. If it ever arrives.

Really? Very little if any sound will escape the seal created by my earbuds, and any that does will be very low ...

It's more about not getting tangled in knots or pulling gear over than getting very far from the camera. I'll look into it a bit more and maybe give it a go. For £30 it's worth a shot. As Ebrahim says all I want is to make sure there aren't any sound issues. Just as with using a crap EVF you can still get superb visual results, it may be worth the issues of Bt if it gives me that extra freedom...

Great thanks Ebrahim. I thought it was something like that but the bit where you convert GH4 UHD crop to S35 had me tied up in knots. Anyway, the 12-35mm 2.8 being a S35 equivalent 19-56 f/4.5 is fine by me. I want something for run and gun that mostly keeps things in focus but still has a touch of cinematic DoF. It's decent wide open it seems so f/4.5 ticks that box. Thanks again.

Cheers Ebrahim, please see above ...

Nice idea. If I had 16mm glass I'd be on it.