mercer

Well, I think it’s safe to say that the 5D3 with ML Raw has close to 12 stops and the BMPCC has close to 13... inconsequential. I’ve never tested both side by side but I trust Squig’s comment with highlight rolloff being better on the 5D. In the end, doesn’t matter much... get the camera that gets you excited and create something with it... there are plenty of others that can argue stops of DR or SNR or SNL...

You have a C200 too? You are the Canon poster boy. How do you like it? That’s my dream camera... I can’t wait until everybody on this forum is clamoring over 12K and I can afford a C200B.

The first and last were 100 and I believe the middle may have been 200 or 400. The first shot was with the Canon 50mm 1.4 wide open and the other shots were with the Canon 28mm 1.8... also wide open.

I decided to test some 48fps with the regular 14bit ML build. I processed it as Alexa LogC 24fps through the MLV App. As suspected... since it’s less than HD... it’s soft, but for short close ups... it could work in a pinch. Any updates on the slow motion capabilities with the experimental 10/12 bit modes?

Although the visuals are very impressive... I’ve watched the trailers a few times each... as a screenwriter, I am intrigued by how you used common end of days tropes as a framework to what seems like a more personal story... of course there’s only so much story one can gather from a trailer. Also in the US, and am looking forward to your distribution in the States. I guess if I had a BTS question, I’d be curious to know the ratio of practical effects to CGI? Obviously, the helicopter crash was CGI, how about the dead birds falling to the Earth?

Idk, Raw isn’t just about color grading. Sure the 12 or 14bit color helps display the nuances that are captured within different textures, but even a simple Rec709 conversion would benefit from Raw. I don’t know if the doc you’re referring to is that Sea Gypsies one mentioned earlier, but if it is... I thought it looked amazing. It’s all in the details.

@fuzzynormal although I agree with the sentiment of your reply, I could argue... what would that the indie doc have looked like if it wasn’t shot on Raw?

You must be fun at parties!

Does it say if it will only accept videos recorded through the app... forgive me but I haven’t read the article... busy few days... will the IGTV app be integrated with the regular IG app or is it it’s own thing? I think that’s too generalized of a theory... it seems there is content for everybody with whatever interests they might have, just like YT. I love IG and have learned a bunch about photography and filmmaking from perusing and commenting on photos, screengrabs and videos... but I ONLY follow photographers, filmmakers actors and actresses. With that being said, how many people on eoshd are also on IG and how do you use the platform... personal, professional, both?

The IG app only works vertically, so that may be the reasoning... but I believe you can still have a landscape video on there, you just won’t be able to turn your phone to watch the video full screen in landscape.

Look up Christian Mate Grabe on YT... he used the a6500 with the Sigma 30mm 1.4 for a while... I think he shot mostly 1080p with it as well. His stuff is gorgeous.

It just remembers the last setting so if you don’t change the lens, the last setting is still active.

No it remembers it.

Just make sure you get paid before you start flocking the brides...

If you’re okay sticking with 1080p, you could always look into Olympus... the E-M5 Mark II has nice all-i 1080p and way better IBIS than the Sony. And then there’s always Fuji as well. The X-T20 is in your budget... pair it with the 18-55mm f/2.8-4 OIS lens and you will have a nice one lens set up, with great Fuji color.

Yeah, @cantsin that is some of the nicest color from the BMPCC that I have seen. Who needs the P4K with an image like that?

No question, I’d go with the a6500 over the a6300. But also be prepared to have a hard time seeing the LCD screen in daylight if using sLog and be prepared to get an on overheating warning. I can’t say much about the AF because I used old manual focus lenses with it. The 4K is insanely detailed and sharp, especially when downscaled to 1080p. And for me, the color was kinda wonky, but I’m sure a better colorist would do fine with it. With that being said, if you research online, there’s a reason why the lion share of wedding videographers still use Canon cameras. I honestly don’t believe in recommending cameras any more. I’ll discuss my experiences with them based on my limited skill set, but these choices are so personal to individual needs, one really has to decide what specific spec or specs get them hot and bothered and go from there. Whatever your choice, good luck!

Honestly, other than ML Raw and the Canon color science, DPAF is one of the reasons I have transitioned back to Canon and will probably stick with them for years to come... even though I don’t own a Canon camera that has DPAF yet. Everything I have seen or heard about it is remarkable and going forward I decided to invest in Canon lenses. Sure I’d love to have a C200 but that’s definitely out of my price range right now, so I’ll eventually pick up either one of their new mirrorless cameras or a 5D Mark IV.

Yeah the AF is impressive, what PP are you using?

Totally off topic, but how do you like full frame?

I think @webrunner5 was referring to cinema camera manufacturers, not all camera manufacturers.

I’m not a Hugh Drone fan either. I enjoyed his earlier work but recently he really started to phone in his performances... and it always seems like he looks down on everybody.

Yeah the nano coating is pretty amazing and it really helps keep the filter clean. I’d rather have the hard stops on the filter than a few extra stops of ND... it only becomes an issue with full afternoon sun at apertures faster than f/2.

I think Zomei also uses Schott glass, so that’s something. In the past I used the Ritz Camera Store Brand because their VNDs used Schott Glass but I just got tired of the freewheeling spinning and X Pattern, so that’s when I decided to give the Bower a try and for a cheap filter, I cannot complain at all. I think you get 8 or 10 stops of ND and since I film a lot down the shore, on the beach, I’m never worried about them getting sand or salt water splattered.

As far as VNDs go, I have always used them and have always been happy with them. But I have two points of criteria after testing a lot of cheap VNDs and a couple moderately priced ones... 1. I will only use VNDs that have hard stops. As most on here know, due to the nature of VNDs, if you push them into no man’s land, you can get the dreaded X pattern and in most instances you won’t notice it until after you get the footage into the computer. And strangely enough, there aren’t that many brands that offer the hard stops. 2. Color neutrality - most VNDs will have a color cast, especially the cheaper ones. With some cheap ones, like the Fotga, you’ll get a crazy greenish/brown color cast but you do gain a very specific look that is interesting in its own way, so for the price and a specific shoot, the Fotga is worth the $10. But most of the time I don’t want any color cast. So there are really only two brands I use now... • Bower - cheap around $30 a filter with neutral color and hard stops. These were shot wide open with an f/2 lens or faster and a Bower VND... • B+W Vario ND - they’re more expensive with less stops of ND but they are better built with a really nice coating... gotta love Schott Glass. And the less stops actually keeps me honest... forcing me to stop down my lens sometimes. These were also shot with an f/2 lens or faster using the B+W Vario ND...