mercer

Can you hook into the band’s/venue’s sound system?

You never know, you have some pretty amazing production value right in your backyard. Put together the right story and you could have the next best short on the festival circuit. I haven’t seen Sicario but I’ve obviously heard good things.

I didn’t see that, thanks. Hmm... that’s interesting. I can see it though. In some ways the move from the GH5 to P4K is a lateral move... especially if sensor size is a concern. Are you getting enticed by the glory of FF? Honestly, I’m kinda interested to see what Panasonic is planning for the GH5s now that the P4K is coming. I’ve seen some nice stuff from it but for the money alone, the Pocket wins. Now if Panasonic can wrangle up ProRes Raw or something similar, with a lower price... game is on.

Right, you weren’t specifically referring to the GH5 as much as you were referring to any modern camera with modern conveniences but you have been known to defend the GH5 to no end... which is cool, I do it with my 5D3 as well. It doesn’t much matter anyway, this thread has nowhere to go until some footage is released and some cameras are released into the wild. With that being said, I really do appreciate John Brawley’s contributions to this site. The discussion I had with him the other week regarding his experience on the production of The Resident was insight rarely received from a pro to an aspiring director. And he seemed more than happy to offer it. So maybe it’s a little unnecessary to pick apart the minutiae of every sentence and every word he ever posted on this forum to “win” an argument?

Not that I really care about this argument, but right or wrong... Jon Pais, for dramatic effect, (or melodramatic effect... lol) was quoting Frank Glencairn’s use of the word “sissy” in his article. Obviously he was doing it because he wants to remind the world that the GH5 still exists and that AF and IBIS aren’t just for sissies... they’re for fanboys as well... lol. Is it kind of annoying... yes, but at no point do I think he was using the term, sissy, in a derogatory way. And I don’t think Frank Glencairn meant it that way either when I read the article. This world is getting so politically correct there will be no such thing as comedy in a few years.

Actually I think the bitrate is higher on the M50 than the a6500. And I’m unsure if grading sLog2 takes away Canon’s color advantage... More DR yes, color advantage... shrug. Anyway, they’re such different cameras, I wouldn’t even compare them.

Also remember if you like Rokinon lenses, the 12mm f/2.2 cine lens comes in the EF-M mount. They have a few of those smaller aps-c lenses. I’ve used the 12 and the 21mm, which I liked for their size and smooth operation. They also have a fast 35mm. So on the M50 with 4K crop, the 3 lenses would give about a 28mm, 50mm, and 85mm FOV respectively... hell, it almost sounds like they were made for the 4K crop of the M50. Haha, just posted something similar. But the good thing about the 1” lenses is that you can get almost new copies for less than 50 each... so depending how serious you want to be with the M50, would determine how much you want to drop on lenses for it.

Good to know, thanks. I’ve been craving using an old fashioned Canon camera and DPAF... really just DPAF. I’ve seen so many videos with it that I think it would be a great tool for my style of shooting. Obviously it won’t take the number 1 slot in my bag over the 5D3, but for certain things... I still love that old school, soft Canon 1080p like Kendy Ty videos offered. I was contemplating getting an 80D to mess around with but unlike other Canon cameras, the price on the 80D hasn’t really dropped as much as I’d like to pay. With the c-mount 4K of the M50, it seems like a great option since I already own a bunch of c-mount lenses. I actually have a 26mm 1.9 Kern-Paillard up for sale on eBay that I may end up keeping. Okay 1” c-mounts that SHOULD work would be the Fujinon 12.5mm f/1.3, Cosmicar 12.5mm f/1.4 (silver with scalloped focus ring) Canon 12.5mm (I think it will have VF in it’s naming scheme somewhere. Those are the 3 I’ve used with the G7 and GX85 with full coverage. Those cameras have a 2.2x crop so I would think they should work with the M50. Otherwise, you can also look into any 1” machine vision or TV lens... Kowa probably makes one or two. SLR Magic made an 11mm “Toy Lens” that some people used with the BMPCC but I believe was originally made for M4/3, so I assume that should work too... but they’re near impossible to find. And finally, one of the coolest c-mounts I own I paid $4 for... it’s the Meopta Openar 20mm and it covered the GX85 with IBIS on. Now I don’t remember if there was an additional crop with IBIS on the GX85, so take that with a grain of salt... but if that lens works on the M50, I’ll be completely stoked as that lens just has some amazing mojo to it. This was shot with it using the Micro... and then there’s a picture of the lens.

Re: this vs. the a6500... well they’re just different cameras. The big elephant is that the a6500 has IBIS and sLog/cine profiles. The latter may be a matter of contention because it is difficult, for some, to get good color out of them, who cares if you have more dynamic range if the color is wonky? With Andrew’s profile, or one of the dozens of others, you can get plenty of good enough DR with the Canon. In the end it’s about your needs since better is a relative term.

So the 1080p on it isn’t that good? It seems from what I’ve been reading, it’s the star of the camera? Clean and detailed with a lot of focus points for the DPAF?

Folk Fest? Are you from Pennsylvania? Hopefully we’ll see some official footage from it sometime soon.

I’ve been making the C-Mount lemonade since its release and this article sums it up perfectly. There are some 1” TV lenses that should cover at wider focal lengths, making this camera even more fun. For me, this seems like the perfect little, glovebox camera. If you want to shoot casual, friends and family stuff, throw on the 22mm and shoot in 1080p with DPAF. If you wanna go out and experiment with a different look for a short film or just for fun, there are dozens of cool options in c-mount. It would be really cool if there was an Arri STD mount to EF-M adapter for sale to use those old Schneider S16mm lenses like you tested with the GH5.

With the G7 and the GX85 I was able to get full coverage with the Fujinon 12.5mm. And I think they’re both 2.2x crop.

The 1080p looks great. I was afraid of those lenses... I think they may be 2/3rds lenses and you will need 1 inch c-mount lenses and even then... anything wider than 10mm probably will vignette.

If you want sharp and vintage, go with Kerns or Zeiss Tevidon. The Kerns should fit in most c-mount adapters, the Tevidons may need to be modified using one of those kits they sell on eBay. But Tweak is right, the Fujinon C-Mounts are awesome. There’s a guy in England that will modify all of them and declick them. Also, I wonder if the old Arri S16mm or Schneider Lenses can adapt to EF-M Mount. I also think the Schneider c-mounts are supposed to be that good.

@DaveAltizer so is your buddy right... is the 1080p with the M50 really good?

Yeah that Sigma looks excellent. With Raw video on my 5D, I’m used to needing light, so no biggie, I’m fact I think it has helped me improve. And btw, I meant +1.7 not 2.7.

I really enjoyed the a6500 so you may end up as a fan. If you shoot in sLog2 and you’re looking to do the +2.7 exposure, you can use exposure compensation in manual mode with manual lenses and Auto ISO. It’s a cool trick I accidentally figured out. Let me know how the porting works, because I’ve been looking for a good 1080p S35mm Camera and I have been pretty impressed with some videos I’ve seen from the a6000. It was never on my radar before but it seems like it’s a poor man’s a7s.

Those are unbelievable prices. That 85mm is legendary and for that price it’s robbery. I don’t know much about the 35-70? I’m still interested in that 55mm but not ready to buy yet. That’s another camera I am really interested in and hoping sometime next year to get more into stills and it will be at the top of my list. I had the 17-50mm and I quite liked it... clean and sharp enough with a little character. On my old D5500, the OS was fairly solid.

I’ve been attempting to start a small collection of Contax Zeiss Lenses, but I just don’t think it’s in the cards. I’ve bought 3 50mm 1.7 lenses in the past 3 months and each one was not as described. I figured I’d get the mounts changed with Leitax adapters. I’m thinking I may try the ZF.2s instead. How good of a deal did you get on the 85mm? Two other cameras and three lenses? Do tell?

It’s not necessary, but if you’re working on a project where you need to replicate old film, that feature could come in handy. And I guess if you put it on a 15p timeline (if there is such a thing) you could lower your shutter speed to 1/30th for lowlight. Not very useful but it could be used for small experimental pieces with little movement or for music videos, I guess. But yes, overall it’s not very useful.

I’ve been interested in those lenses for a while. Right after I sold my last Micro 4/3 camera, I stumbled upon a lightly used 25mm for less than $400... I thought about buying another camera to use it with.

In theatre, actors are trained to project their voice and emote to the back of the theatre. As you know Film is more subtle. The camera is in your face, it will pick up the smallest of gestures and hear the lightest of whispers... if possible for the scene or just as an exercise, have them whisper their lines... it’s almost impossible to overact with a whisper. Also direct the speed of their delivery... say faster, or slower to break up their preconceived delivery. Or in between a take, read the line back to them the way you want it delivered. Actors usually want notes... good and bad... they want to be directed. Also as Kye suggested, explain to your actors what you’re doing and why. Ask what their interpretation of the scene, or line, is. Show them how your shots are going to help to express that visually. As you know, movies are jigsaw puzzles put together one piece or shot at a time, so the blocking they’re used to in theatre isn’t the same as blocking... or hitting their marks in film. So just make sure they know their marks and obviously have a bunch of gaffers or painters tape to mark it. But probably most important is to show passion for your project. If you have passion, they’ll have passion and they will follow your lead.

Please share what you end up buying. I love a good lens quest story.

I 2nd that!