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So as some already know, I recently purchased a 5D3 primarily to shoot Magic Lantern Raw. Well this week I started my first short film with it. It was definitely a learning experience but I really don't know of any camera where I would have achieved such pleasing images. I also purchased the Canon 24-70mm f/4 lens and I am consistently blown away by what a great lens it is and the OIS is so damn good, even at 70mm, that the majority of my short, thus far, has been shot handheld. With the recent 4K Raw developments, I figured I would post some pros and cons in case somebody else is looking to pick one up. Well the first pro is that shooting Raw could not be simpler with it. Set up Raw histogram with the overexposure hint and when it shows your color channels are starting to clip or the word "over" appears on the histogram, then just dial back your exposure a touch. Another pro is that there are a bunch of people on this forum still shooting with the 5D3 and everybody is helpful. If you have a problem about any aspect of the process or workflow, there are plenty of other ML shooters around here that go out of their way to answer even the stupidest of my questions... not nearly as daunting as the ML forum. Now a couple cons... you need a bunch of cards... or a computer and hard drive to offload your footage... 12 minutes on a 64GB cards gets filled quickly. Even with 3 cards, and trying to be conservative with my shots and shot ratios, I still ran out of space 3/4 of the way through my second day of shooting. Converting the footage is a bit tedious. The RawMagic route of converting the MLV files to CDNG is fairly fast but then you still have to process the footage through Resolve or After Effects before really seeing what you have. I really like the MLRawViewer program, but although you get to preview your footage, the conversion is slow and after I updated my Mac to Sierra, the version I have does not work with it, but I believe there is a newer version, so hopefully it will work then. I guess that's about it for now, so I'll leave you with a couple graded screen grabs, from a couple shots I briefly messed around with yesterday...

Yeah looking boring so far but remember... it doesn't start proper until Monday. And leaks usually don't start to appear until the day before. However I am not that hopeful for much excitement on the camera side. Sony probably won't come with an A7S 3 just yet... Panasonic probably won't come with much as GH5 still fresh... Canon probably asleep and Nikon probably doesn't even know NAB is on

Hahaha. Awesome. Distributed by Western Union.

Here they are dealing with someone who's asked for a mirrorless D5

First Casey, now for the next! Will the GH5 be the new T2i?

If you want to ban someone for pointing out real log is different to your flat profile (which is really good and useful, btw)... Then ban away.... I thought you liked honesty though?

Again nice work. Fun video. I loved the grade you did while they were fixing the bike... very modern "filmic" look!!! I'm gonna go against the grain here and agree with you about Nikon vs Panasonic color. There's just a warmer thickness to the color with better overall separation. Even though I just purchased the 5D3 and couldn't be happier, the only manual lenses I am holding onto (of my 100 lenses) are my Nikkor ai-s lenses and Tokina in Nikon mount, so I am pretty sure I'll eventually buy a D7500 for when I want a little 4K or easier workflow.

Cool. Pretty sure that the Berkey motor is 12v 1amp...but I'm running it at 6v I think with no torque issues. I've contacted Brian Berkey to get a proper spec sheet. Through luck I wired a custom cable to integrate it to my Dynamic Perception NMX controller and it works perfectly. I cant really see if the Berkey motor is massively better than your solution, but I know that a lot of people in the motion control world use them because they are compact and can be configured in many ways... I can get the gear within 1mm of the camera body when using pancake lenses or (as seen in following pictures) when I remount lenses that have a focus gear very close to the lens mount. Also if it can be an option to integrate into your controller and encoder, there are a few owners out there with Berkey motors on custom live action/ animation motion control rigs that would also appriciate encoder driven control that can act as a slave to rotational input.

I've already been swamped reading all the new audio announcements related to NAB.... There are a ton of them! So so so many new time code options, plus the shocking announcement from Sound Devices of new low priced gear. And more!

Thank you, @webrunner5. Sadly, Seriozha died a month ago... The film was presented at the Sundance Institute Short Film Challenge in the United States.

I am really excited about end of 2017 when we might get some successor for the GX80/G85 with some of the features of the GH5 trickling down. GX80 with mic in, weather sealing and 4k60p would be all I might ever need. Until the next camera emerges

That is the sweet sweet awesomeness of Panasonic, is very very extremely affordable to pick up their older cameras! I started out years ago with one Panasonic GH1, and over the years I've got very cheaply indeed: GX1/GF3/G3/GH1(another one!)/G6. Plus a little Nikon/Sony/Samsung/BMD in the mix too. Haha, thanks! Not sure about the truth of that... But OK! :-D

I'm tempted to register there just to reply to him that the only way we'll definitively know if Canon are ripping us off is if we have to pay by Western Union and Canon tell us their mother is posting the 5DMKIVs back.

Disclaimer: Not necessarily by chronological order, merit or even actual camera models or new gear/technique(s) related, different setups too; only for fun, useful information and good education (yeah, you read it) from others' testing. Apples to Oranges -- if so, is discretionary, as well, inconclusive, controversial results, so are also welcome here. New posts to follow. Enjoy them as much as possible! Hope it helps and fits your search when may happen :-)

The thing not really mentioned often enough in this thread, as that is really what it's all about, in this or any camera, is the image quality...I have to say I was expecting a good image...Panasonic completely surpassed my expectations with the image out of the GH5!

Voigtlander 20mm 3.5 Still love this guy!

New T2i or Mini-Alexa? ;-)

I have a feeling as to why he has so many followers.

Wow the DR looks great indoors also. I don't see Any crushed Blacks, and the grade looks very realistic. You made a heck of a good choice on the 5DIII Glenn.

Thanks Don, I appreciate it. I am pretty pleased with this set up. That lens is great wide open and gives me just enough dof. To be able to shoot Raw video, handheld is amazing. I was a little worried about interior shots... but after looking at a couple shots, I think they turned out alright for a 2 minute color process. However I still wish I had a better monitor than my MacBook Air... They look a little browner than they did on my computer. I also rarely shoot anything longer than a minute, so I may try to up the resolution to a 2.5k 2:35 variant to see how long I can record with it.

F-ing brilliant Hans

Wow is it me, other than the Sony A9, NAB seems to be a bust so far?? I know it Just started but...

For me, one of the most interesting points they made was something I've experienced in going from the FF A7Rii to the GH5, and you rarely hear people talk about. I always said I saw more of a difference in stills between those 2 cameras than video, as a result of the different sensor size. They made the distinction that this sized sensor is absolutely fine for video, but they see the advantages in a larger, FF sensor, for stills. I can definitely see that, but since I don't take a ton of stills, the GH5 is more than good enough for my purposes.

I have tested a lot of the popular anamorphics (except Lomo). I sold them all and only kept the most versatile and easy to us Isco pre 36 and 54. I still have the baby Moeller for the most beautiful image and it is also easy to use (you can pull focus with some practice). Regarding Kowas and Elmoscope I think they have to be considered as the best projection lenses and that is how I use them (Elmoscope II). Last but not least: Sharpness is overrated

Try the new Footage App developed by one of the magic lantern forum member martinhering. You can get the latest version here. https://rink.hockeyapp.net/apps/3ed6ecf60e684239a6aba3d407cf3935/app_versions/77 There isn't real time playback yet like MLRawViewer but you can quickly scrub the timeline and export the dng or mov files. Also, you may get more than 12 minutes by shooting in 14bit lossless raw.

Thanks Dan, sorry I should have been more clear in my long post... this isn't 4K... I actually shot in 2:35, so it isn't even 1080p... it's 1920x810. Since I'm new to the 5D3 and ML, I haven't tested the 4K Raw yet... yet. But I am pretty sure the 4K Raw is not a fluid preview and liveview is in grey scale.

BTW, tap-to-focus is actually part of the GH5 AF system, the point is that works in both AF and MF modes, so... AF, whatever the finest settings we find, could never be such a deal breaker at all! :-)

I know it uses GPU more, but it still relies heavily on CPU for rendering. I just switched from a GTX 570 1.2gb to a GTX 1060 6gb and my render times with HD pocket raw footage increased exactly 0%.

aww thats great i think youll really like it... itll definitely be great inspiration for your web comic...!!! i look forward to hearing your thoughts!!! ?

What platform? It does get confused if I operate the camera while controlling it remotely but otherwise super fast and responsive. Did my moon photos using it. Also the speed when reviewing photos or video is full wifi speed, full res playback of images and video without any lag or waiting whatsoever. I was very impressed. I use a Oneplus3T Android so 1) connected the phone to the GH5 wifi, 2) turned the app on and it connects straight away, then 3) I enabled screencast which connected the phone to the microsoft wireless adaptor on the TV. So was then able to go through the photos and videos with all the families at once on the big tv. All without hitch or wires. Very cool. Very easy to skip 40 photos when I had pressed on the shutter for 3 seconds rather than have to view every one. Also connected to the TV via the full size hdmi socket (which rather surprised the techies there who had said oo sorry we don't have a small hdmi adaptor). I didn't try the app in that config though.

With less due respect, open your mind like a lot, Web.

I am a big fan of your work Ricardo, but I couldn't disagree more with this statement. Nikon has some of the best 1080p video around. The only features they're really lacking is focus peaking. They have good DR, an amazing Flat profile, their shadows are as clean as they come. Other than Canon, Nikon has the best color science on the market. They have hundreds of native Nikkor lenses to choose from and hundreds of third party lenses. I know a lot of folks are turned off by their 4K crop, but at 2.25x, the crop is smaller than the NX500 and the GH4 and only, unnoticeably, more than the GH5. Sure I'd love a super 35mm crop but I can live with the 2.25x with the images their video produces.

I thought that too, but then I'd be on DPReview.. not worth it

Haha, the irony of that statement. ?

Believe the random DPR commenter!

I only an hobbyist, but one of the books I've read recently is "Directing the Documentary". I liked the chapters describing what makes a good documentary story and structure wise and how to plan the work. I found the chapters about camera technique to be banal, so I would recommend selective reading for anyone interested in documentaries.

I can just picture him sat there reading the sales info for that adapter. "Allows you to connect any B4 lens to your micro 4/3rds camera"

Steady on. It will be dull test footage all the way. I'm even thinking of buying a cat specifically for this purpose. Currently browsing for a PL adapter and might even go mad and pick up an old B4 lens as I'm determined that the much vaunted flexibility of this camera that I've got myself so keen on is going to be taken to the limit by attaching any tubular object that has glass at either end of it! This guy sets the bar pretty high though when it comes to mounting B4 lenses on MFT mount cameras.

Please research what log means

Also, you could get a Kowa C35 and Hard Core DNA for 2k vs the 3k + for the other. I do think it's nice that the Iscorama is a mechanically solid and produces a lovely image but I don't think it's worth an extra 1k or more. If I had one and I payed 3k for it I would vote for it as well. They are lovely.

Check out my picture of lens. From left to right. 2 Baby Hypergonars, 2 Kowa 1.75x Inflights, Kowa C35 1.5x, Bolex 16/32 and Bolex 8/19. The Kowa C35 has a much bigger back then Bolex 16/32 and the Kowa Inflight is much bigger then the C35.

Incredible how much sharper the nx1 is... without being oversharpened.

Update: Focus transition does work with SB+Sigma 18-35mm Using the focus transition with the SB+Sigma 18-35mm does work provided you use the AF function from the camera to set the points. Previously I used MF to set the focus points and this did not work as the camera would not return to the previously set point. Presumably you should not touch the focus ring during the entire process or you might throw it off. Can't seem to update my previous post now.

The iscorama is the lightest, widest and most compact setup. You can go 40mm with a pancake on full frame, and nothing quite beats those warm flares. The only issue I see is close focus, but that is also workable with regular diopters, since you have a 72mm front, which is easy to cover. Oh, and the 49mm threads at the back are also super easy to mount to taking lenses.

Well, I filmed this with Nikon D5200 and Nikon D5300. At that time, grading skills were just in the beginning stage. So not perfect, not Davinci Resolve and Full HD. But I completely doubt whether one could get such colours with GH5 or GX80 (which I own). Panasonic's image is boring, cold and synthetic when compared to Nikon or some others. Do you agree with me?

No offense meant to you personally, but the more people throw over the top teal & orange grade to everything, the more I f..king hate it. For me this video looks great in terms of image quality but its ruined with that grade.

3200 is clean. Plus this is completely off topic, in the wrong thread, and you didn't point out the snipers or aliens.

Hey guys, I'm not sure anyone cares, considering that these are two quite different creatures, but while I have both the SmallHD 501 and PIX-E5 still here I made a rough comparison between the two. Quick upfront comment: the SmallHD 501 is a pure field monitor while the VideoDevices PIX-E5 can record in ProRes to a Speed Drive (a mSata SSD in a proprietary USB3 case). I have only tested the monitor functions and not the recording. If you're looking for an alternative to a Shogun or Odyssey you will want the PIX-E. The SmallHD 501 allows to attach the sidefinder attachment, turning it into a not perfect but good EVF. As most know, both of them are field monitors with 5 inch 1920x1080 pixel IPS screens. Both of them run on dual batteries so you can hot swap during use, the SmallHd using the ubiquitous Canon LP-E6 while the PIX-E5 takes the just as common Sony L batteries. Both monitors have a lot of exposure, focus and framing helps and can load LUTs from a SD card, a great feature to separate them from the cheaper low budget offering when shooting LOG profiles. So far with the similarities, I'll go a bit deeper on the specific stuff and differencies. Models and operation: The Small HD 501 is the cheaper 500series model, lacking the SDI in- & outputs that the more expensive SmallHD 502 brings, otherwise boasting exactly the same features. There's also more expensive 7 inch models. The SmallHD operates completely over the joystick plus back button, you'll won't have smudges on the screen like with a touch screen. The VideoDevices PIX-E5 is the more expensive 5 inch PIX-E due to the SDI in- & outs, there's also a cheaper PIX-E5H that only has HDMI . Just like with SmallHD, VideoDevices also makes a 7 inch model. While the SmallHD has a very minimalist operating approach, the PIX-E5 on the other hand features a twist & push know on one side, 13 buttons on the front and touch screen in addition. I'd give the point here to the PIX-E, it's just more pleasant to set up and toggle the functions. Operating system logic: The 501 offers a page logic. You can create multiple pages that you set up with the tools of your choice (in whatever combination you need) and then just left-right jump with the joystick between the pages. So you might have one page with all your tools to set the right exposure and then the next page with your framing guides and focus helps. Nifty. On the PIX-E5 you can activate and deactivate the different tools with the buttons on the bottom of the screen, configure them by holding the button. Works easy and quick, especially on combination with the touch screen. I'll give this point to the SmallHD. While I think setting up the tools is quicker on the PIX-E, you only set them up once and then toggle between pages on the 501 while you would always turn tools on and off on the PIX-E. But this is by a hair, I think both is perfectly fine, might be a draw for others. Exposure tools: Both have configurable zebras, false colour, histogram, waveform and vectorscope. They feel slightly laggy and pixelated on the PIX-E but that's nit picking. A clear draw. Focus tools: They both have colored edge peaking in configurable strength and color. The 501 features additional edge sharpening that emphasizes in focus edges so it's really easier to pull focus directly from the full screen video without the distracting peaking colors. It works quite well in my opinion and is better than colored edge peaking when using a nice big 5 or 7 inch monitor. The PIX-E5 features a cool zoom function to punch in on the picture via touch screen, you can even move the zoomed frame area. Which is better? It depends. For me I'd say the full screen edge sharpening is better for run & gun where you want to keep an eye on the whole frame while the great punch in is good when shooting from sticks or in a more narrative setting. Inputs & Outputs: Both feature HDMI and SDI depending on the model as well as doing loop through. The point goes clearly to the PIX-E5 though as it has 4k via 6G SDI and HDMI while the Small HD only does FullHD. In addition the PIX-E5 can do FullHD up to 120fps (not that most consumer/prosumer cameras would even give that out, they only do it internally). Image lag: I've tested this point because a lot of people complained about the image lag of the PIX-E5 with roughly 5 frames of delay. VideoDevices really improved this a lot with the last firmware updates. Both monitors show a comparable amount of delay connected via HDMI to a Samsung NX1 or Nikon D750. If shot the camera screens and monitors with the iPhone in 240fps and both monitors lagged roughly the same behind the camera screens and reality. Keep in mind that if you do loop through, there will be additional delay. The SmallHD won't work on the NX1 but it works when looping through the PIX-E5 (makes you wonder how SmallHD is incapable to fix this if even that is enough?) but obviously it will lag even more then. This is probably only relevant for the people who want to run multiple monitors/recorders on one camera to have separate view for operator and focus puller (and director). Recording: DUH! PIX-E5 because the SmallHD 501 is no recorder. In addition the PIX-E5 comes with the PIX-LR module to high quality audio features such as phantom powered XLR inputs. Weight and size: The SmallHD 501 is smaller by quite a margin, I didn't measure them but you can see it on the picture or look it up in the tech specs. The SmallHD 501 weighs 205g without batteries and 365g with my two aftermarket LP-E6. These bring 2000 mAh each. The VideoDevices PIX-E5 is 450g without batteries and reachs 635g with two aftermarket NP-F550 (2900 mAh each) or, if you need a lot of juice, 1050g with two NP-F970 (7800 mAh each). We don't have to discuss this, it's clearly in favor of the SmallHD 501. This was when using them as pure monitors, if you add the Speed Drive to record to the PIX-E5 will get even heavier. So when shooting with a A7s with a vintage lens, the PIX-E5 with batteries and media is as heavy as the camera. This is actually on the level of the bigger Shogun. One reason clearly is the superior build quality. While the SmallHD 501 is in no way flimsy, the PIX-E5 has a massive metal housing used for robustness and to dissipate heat (it also has an active cooling fan but the volume is perfectly fine). Start up time: Here comes the last point in my list and the absolute deal breaker for me. Everything above would be perfectly fine with both monitors and I think both are great choices but depending on how you want to shoot, the start up time of the PIX-E5 will be unacceptable. I've stopped the time between pushing the button / shoving the slider and the image appearing on screen for both monitors multiple times. SmallHD 501: 3 seconds PIX-E5: 32 seconds For me that was just not workable as I like to pull the camera out of the bag, flip it on and shoot. I often won't want to stand around 30 seconds and wait for the monitor to power on. If you're shooting a music video or a narrative that might be fine though, it's more some documentary & travel style situations where I see this as a problem. So this is my rough and brief impression of the two monitors (slash recorder). To be honest I think the VideoDevices PIX-E5 is the more extensive product, especially with the recording function, but due to the difference in weight and start up time I see the SmallHD 501 as more usable in my personal opinion and goals. I'm sure I forgot something and will then add that later. If you have any questions, just ask. [edit] There is further information about the startup time of the PIX-E5 further down in this thread.