mercer

Holy 73 Cows that looks good!!! Great job @Ollywood88 !!!!!

It’s definitely great that there are alternatives for those invested in Micro 4/3rds or even those that use adapters and appreciate the many benefits that Panasonic or Olympus affords. But there really is something special about full frame that isn’t quite the same as a super speed lens alternative on M4/3.

Interesting article and great job matching the focal lengths and depths of field, but the cost associated with getting the full frame look with the GH5 will put you at $2500-$3000. With an a7iii and a Nikkor 35mm f/2, you can be well on your way for less than $2200, plus you’ll have the option to go with f/1.4 and 1.2 lenses and higher ISOs. The Voigts are a great cheat though and the 25mm is one of the best lenses I’ve ever used.

I quite like the conservative exposure. With a simple s-curve and saturation boost, the image looks quite nice. With a simple tint filter, different “looks” can be easily achieved. That Nikkor looks great. Have you ever used the 55mm f/2.8? I am finding it difficult to build a good set of fast Nikkors, so I was contemplating putting together an f/2.8 set that can be shot wide open. I love the 35mm focal length on full frame, but for my shooting style, a 50mm is just a little too close to 35 and the 55mm 1.2 is more than I want to spend right now. I figure a 20, 35, 55 and 85 could be a nice little set. Any info you have on the ai-s f/2.8 versions of those lenses would be appreciated.

Note to self: I think I went a little heavy handed with the vignette.

A couple more shots from the Canon 28mm 1.8. I got this lens for an insanely low price and it's quickly becoming one of my favorite lenses. Even without IS, I am able to go handheld on FF, which will make this lens indispensable going forward.

It really looks nice. Your color skills probably help but it lacks that video look prevalent in a lot of cameras. I guess it would have also been interesting to see a side by side between the JVC and the D500 in 1080p. I’d like to see how the Flat Profile looks next to the JLog... is JLog very flat or is it more like Canon Log?

Yeah I think the Nikkor wins. Was this 4K or 1080p?

Nice color. And IDK, I like the character of that lens. Good combo.

?? “Yep it sucks” hahahahaha. Good stuff.

Haha, seriously?! Sometimes I really think all of the talk about this camera or that camera, is a bunch of nonsense... I visit this site and watch most online videos on my phone, like 95% of the rest of the world and since I knew you shot ML Raw, I just assumed that scene was shot Raw as well. Crazy. Either way it looks awesome, man! All of it does. Those screengrabs are epic. I love the choice of making some of your lighting practical... SMART!!! Did you use the same Leica Rs with the Raw shots as you did with the h.264? Hmm, that’s pretty cool. I’ll have to give it a try when I upgrade to 15. But to be honest, I’m shooting 2:35 at 1920x810, and I’m still blown away by the detail with the right lens, so I don’t even know if taxing my MacBook Air with the higher resolution is worth it to me... it would just fall on deaf ears I think.

I’m not comparing the 5D3 to BMCC, I was referring to your statement about it compared to the GH5/GH5s. Everything I’ve read states that 5D3 is between 11.5-12... which is better than the GH5 and close to the GH5s. But really I don’t care, I think I just found your comment interesting that the 5D3 looks better but isn’t?

So even though it looks better, it isn’t? Okay... but I’m pretty sure it has about the same DR as both of those cameras... so it looks better and has the same DR. It also has no internal noise reduction or sharpening. It’s also 14bit vs 10bit. It also looks better in only 1080p compared to 4K. So, yeah you’re right it really isn’t better... it just looks “better.”

Because it probably does.

What lens did you use?

Thanks, what’s the advantage to upscaling them? Does it take long to process the render to ProRes when you do that?

@kidzrevil what is the super scale feature? And what program do you use for Chroma Noise? I can usually fight it with ETTR but as I am starting exterior night shots in my film, I’m afraid of that blotchy chroma noise in the shadows. @squig in that scene you shot for your film where the guy was tied to the chair, did you have a lot of shadow noise? I assume you lit that scene but I remember the scene was designed to have pockets of light and shafts of shadow, were there any issues, or did your lighting design compensate for ETTR and chroma shadow noise?

That’s actually perfect. I’m pretty sure they’re all the same lenses but when I had the SLR Magic 26mm, I wanted to believe it was better than the Fujian. Either way, there is something interesting about the silliness.

Thanks, do you have any C-Mounts? Hell even one of the Fujian c-mounts could be fun. Also 1080p is fine.

Yeah that is pretty odd. Have you done any tests with weird lenses on it? How’s the JLog? I assume it’s kinda like Canon Log?

Watch the LS-300 get a Raw export. It would be the camera that just keeps on giving.

I meant specific adjustments to the Raw Tab in Resolve... changing the numerical values for Vibrance or Shadow Detail or Midtone Detail. For the most part I’ll do a rough trim of the clips, correct WB and maybe Saturation in the Camera Raw Tab before I export to ProRes for a final edit and grade in FCPX.

Make it 40... to me this camera doesn’t even exist. Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it... Eventually card info will be released, and more people will complain. Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain. Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain. At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS... And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous. The End.

@DBounce so have you decided if you’re going to take the C200 plunge? Also, out of curiosity... what type of stuff do you shoot? I know you are going for a cinematic look from your test videos, but it seems you may be like me... with a higher budget... a hobbyist that is really only interested in narrative filmmaking? @DaveAltizer let us know how you get along with the M50. That camera really intrigues me for a small 1080p AF camera. And it should be great for some, for fun, 4K with c-mounts.

I didn’t know that either... that’s a good thing, though. If I were you, I would ditch Faithful and try Prolost Neutral settings. Is this mostly happening in 120p with 1/240 shutter? Are you using the in camera meter to judge exposure?