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In my experience the difference is very small between the two, with Canon having better looking colors (just slightly, the F3 beats the F5's SLOG2 for sure) and the F3 having about a half stop more highlight detail. The C300's codec falls apart in high contrast scenes with a lot of foliage. The F3's codec is only suitable for rec709. Both are great in low light. The Canon is sharper, but also noisier in the shadows. Just slightly on both. Both are close enough to each other but far enough from the Alexa (which is worse in low light, to be fair), that I'd just take a C100 Mk II any day for the ergonomics. But if a big camera is okay for you, the F3 rig offers 60p and a slightly higher quality image technically. It would not be my choice, but I still recommend it to others. I disagree about DPX files being functionally any different from video files, but that's a digression. The difference between uncompressed DPX and 444XQ or even 444, in my experience, is completely invisible, and I get irritated when clients demand DPX. I can send some footage I shot with both if you're interested, but can't post it publicly. Both great cameras at great prices. You can't go wrong!

Of course not. You're completely right. My comment is my opinion. As mentioned, there's probably not much chance that those chasing great IQ and the most flexible shooting possibilities would look at my work and style as an example of "the best" in any way, shape or form. I'm not that sort of filmmaker and that's okay. Point is, all this stuff is wildly subjective. No one knows if the OP is going to develop their own visual style or not --of if they're going to embrace a certain lens or camera. Personally, my bag(s) used to be overloaded with lenses and various cameras and, weirdly, it all just got in the way of shooting for me. Kinda decided not to care a ton about that eventually. These days a more organic "sloppy" style is my preference, for better or worse. Does my stuff have manual focusing going on and a human twisting the lens hunting for sharpness? Oh yeah...like that too. https://www.dropbox.com/s/6pu9i85hbszuhrb/NISA-INSTAGRAM.mp4?dl=0 That's an example of a test promo done yesterday for quick hit social media; shot on the GH5 with Voigtlander 25mm and 42.5mm primes. Check out what a 360 degree shutter does to mush up the image. There was also variable ND filters on the glass which adds all sorts of welcomed, IMHO, issues to the image. Is what's going on there appropriate for the OP needs? Probably not, but sharing my process offers context. It shows what some other random guy in the community is doing. OP can take it or leave it. BTW, the color for that vid above is done with Magic Bullet Looks. Does anyone here still use MB Looks?

Yeah. It's easy to zoom in, set focus, then pull back to your shot. Takes less than a second.

One of the coolest Sankor 16 demos I've seen. This is how you get a lot of anamorphic on the cheap. The model helps too.

Hey guys, So 2 years ago I filmed a documentary about myself filming at a film festival in France, using my trusty Canon XF100. I then quickly forgot about the footage because I bought a new camera and wanted to edit with that footage instead of going back to the XF. - Bad planning on my part, but better late than never I guess. Recently I found I had some spare time on my hands so decided to actually do something with this film, and here is the result. I'd love some feedback! Is it too long? Does it give enough info? What's missing? Is it even interesting? Disclaimer: I've never spent anytime in front of a camera, so that was a novel experience for me. enjoy! I planned, wrote, presented, filmed, audio-ed, edited and voiceover-ed the whole piece. In fact the only thing that not me is the music... but I did chose it. The watermarked clips, while shot by me, were for another company. Thankfully, they've kindly let me use that footage with the watermark. Please, don't hold anything back.

Ah, see I completely take the opposite approach! As using a Gimini/Pix with it defeats the core benefit of a F3 in 2017: it is INSANELY GOOD VALUE! And I reckon 422 => 444 is marginal gains, while 420 => 422 is a big leap.

GH5 with Voigtlander 25mm and 42.5mm primes. For this job: f-stop almost always @f1.4. The fps is 23.98. The shutter speed is 25. CinelikeD 0,-5,-5,0,0 is the profile. And don't forget there's a low-quality variable ND filter in the mix too. --Afterwards color is tweaked in post with Magic Bullet Looks. It's their Kodak 520-7 filmstock setting with some of their B&W film grain added. And then, with Premiere, Lumetri is then used so the colors in the blacks and whites are desaturated with a roll off. So, yeah, it's a certain sort of weird recipe for the end result.

An extensive review of the EVA1 by Newsshooter... http://www.newsshooter.com/2017/11/01/panasonic-au-eva1-hands-on-review/ As color rendition is a top priority for me, I was happy to read Matt's assessment: "In my personal view (feel free to disagree with me in the comments!) the EVA1 has the most accurate colour rendition of any of the sub $10K cameras that are out there. The colours are very reminiscent of the Varicam LT and you would struggle to tell the two apart." Camera's not without its flaws but I expect I'll be pretty happy with it. Here's a short doc Matt shot with it.

I sure hope not. When did lenses start to get self-zooming? Focus breathing might be a thing, but that's the same with primes that don't change focal length at all and has got little to do with a lens being parfocal or not. Or you might have switched 'focus' and 'zoom' around, in that case, well, yeah, obviously.

F3 is great, and I don't love the C300 but it's very serviceable. You'll likely be happy with either. I'm considering selling my F3 because I just don't use it all that much. I find the jobs that are big enough warrant Alexa's and the smaller jobs are perfectly serviceable by ny A7sII which isn't quite as nice as the F3 but has 4K, is light, small and nimble and for the kinds of jobs I'd do with it, the picture is more than good enough. There's three drawbacks I find using the F3 in 2017: -being forced to use a recorder to make the image quality worth the investment can be frustrating at times. Needing to rig it out every time gets annoying if you're on a job by yourself. It's also kinda big and unwieldy, though it sits okay on your shoulder -the menu system is one of Sony's worst ever. This in itself makes me reluctant to pull out the F3 sometimes -you can't record any higher than HD resolution. For me, this will likely be a big thing that kills it as an option for many jobs going forward. If you don't mind those things, you can get a really great picture out of it. Go for it, you'll be happy. I'm always happy with what I get out of it, I just find I use it less and less these days.

Probably because the only benefits are those.

@Bold, tito, nickgorey, nahua, richg101, quickhitrecord and everyone else in this thread; great work! Thanks for sharing so much info from all your work on this lens. I recently decided to dive into anamorphic shooting and this thread was invaluable. My setup is typical: GH5 Taking lens (Helios 44 58mm/Minolta 55mm/Fujinon 55mm) B&H with Redstan clamp Here's the setup, showing the lenses mounted on some rails; taking a cue from Bold (well, more than just one), I've used some telescope guide rails attached to a smallrig clamp. But I think I prefer using the standard smallrig V-shaped lens support you can see in the image. This is because I'm actually finding this setup to be dual focus; that is, I can't get anything in focus with the taking lens set to infinity, I have to keep it around 1.5-2m and work the B&H focus from there. I know it's supposed to be single focus, so I'm not sure why this is the case or if there is something wrong with my B&H (it's pretty beat up, as you can see). As such, the B&H moves forward and back as I adjust the focus on the taking lens. Anyway, here are the first couple shots I've taken with this setup. All are with the Helios 44, except the Kodak camera shot, which was taken with the Minolta. I plan to do some more comparative tests with different taking lenses soon.

More new tracks are ready: On the Dark/Ominous page: "Into the Haunted Forest" (Looping and standard) http://soundimage.org/dark-ominous/ On the Fantasy 7 page: "Enchanted Winter" (Looping) http://soundimage.org/fantasy-7/ On the Funny 4 page: "Fishbowl Circus" (Looping) http://soundimage.org/funny-4/ And on the Puzzle Music 2 page: "Puzzle Trance" (Looping) "Hypnotic Jewels" (Looping) http://soundimage.org/puzzle-music-2/ I hope everyone had a great Halloween!

95% Gh5 and handheld, i always use elctronic shutter (except nightshots), it s such a great thing. Only the GH5s levels are shit, but it is one of the best cams for timelapse in my opinion. I often find myself using the kit lens, because it s such a light setup. The 5d gave me back pain.

Here's some tips, based on my experience with the sharpness tweak: I'm not sure if this is the case with every lens, but with mine, it was possible to adjust the sharpness without even removing the brass tabs. Just by loosening all 6 screws, but leaving the tabs in place, it created enough rotational play in the front optic for me to fine-tune the sharpness. This is because the holes in the brass tabs are ever so slightly bigger than the screws, so you have a little room for rotation. For me it was just enough. Once you find the sweet spot, simply re-tighten the screws. No glue needed. Be careful that the act of re-tightneing the screws doesn't nudge the optic. This took me a little while to get right. Once everything is tight, check the image again to make sure it's still sharp. As Tito says in his video, it's easiest to judge the sharpness using a long lens at (or near) infinity, and stopped down to 4 or 5.6. In my case, I could never get a sharp image with the Kowa and taking lens at infinity. I had to focus both lenses slightly less than infinity to get a super sharp image. This is very important, especially if you are using a single-focus solution. Don't blindly trust the infinity marks on your Kowa or your taking lens. You might be able to get a MUCH sharper image by adjusting them slightly under infinity. I'm sure this will vary from lens to lens. Hopefully this helps!

itsa whatta yer calling delaminations innit itsa what yer happenin when you droppa der ananorfink lens when yer usin a cheaps campa clampa it drops or knocks der metal reverbs true der tubei housing init it sens shocka wave inder glasses matrix a delaminating occurins in der complex cemented doublets init it impact seperation damages from poor owner abusings slapping banging opticals violent likes init like harvey weistein knockin on yer hotel doors at night creatin waves of tesla ocillations vibrations it looks bad doctor bones maybe terminulls ask for a refunds quick likes

I’m surprised that wasn’t Raw. It’s great to see how an external recorder with ProRes will deliver such great footage. Great option for a quicker 5D3 workflow. Either way, in the end, the story is all that matters and you delivered Mike!!!

On top of all this, if IPB really were a "motion cadence killer," then everyone would be complaining about watching movies at home, because whether it's Blu Ray or iTunes or Netflix, we NEVER get to see big budget films without interframe compression. And I can't prove it, but I'd be willing to put money on the files being distributed to movie theaters with digital projection having interframe compression, as well. There's no way they're sending out 300+GB files!

The 24-105 does sound great. I tried the 24-70 GM a few months back and the clarity, sharpness, whatever you want to call it, made a huge difference. If the 24-105 is even close to that it would make sense. Native glass, no metabones problems, smaller size, lighter, actual autofocus. For docs it makes a lot of sense and I'm pretty excited about using it.

No, they are more expensive, that's all... :-)

Hi everyone, Here are this week's new free tracks: On the Horror/Surreal page: "Wicked Dreams" (Looping) http://soundimage.org/horrorsurreal/ On the Sci-Fi 6 page: "End of Life for a Machine-Being" "Future City Life" (Looping) http://soundimage.org/sci-fi-6/ And on the Sports page: Guitar Mayhem 10 (Looping) http://soundimage.org/sports/ Have a good week! :-)

The GH5 is a fantastic camera, including for timelapse. While @Orangenz already answered most of your question I would add: - Smoothing Expo is not really a thing. AV mode and auto metering on Sony camera works very good though. However past a certain level of darkness the metering module is not working and you'll have to make the change manually. Personally I always lock everything in manual and change the expo manually (first shutter speed and then ISO). You can use Flicker Free which is great to correct minor flickering but for serious work there is only LRTimelapse (there is a free demo version that work with up to 400 frames, which is more than enough for most time-lapses). Otherwise you can try to set the camera in AV mode with auto ISO (and set a limit). - Two hours of battery life in time-lapse mode is not that bad actually. Turn off the screen (in the menu or close it physically) to increase the battery life. You can also reduce the brightness to the minimum. - Use a strong ND filter for daylight stuff, it makes such a big difference in quality. Pick an ND7 or ND10. I did all this video and timelapse with the GH5. Superb camera except for very high ISO stuff like astro. I usually don't like to go over ISO 1600 with it but you can compensate with long exposure.