mercer

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?

I think there has been some rumors that it may be announced at Photokina.

Out of curiosity, how much and which of the post Raw specific controls do you use in Resolve or ACR? For the most part I have been just using them to correct WB, even though I rarely even have to do that. But I wasn’t sure if some people go all out and treat the clips like they would process a Raw photo? Also, I’m finding that 9 out of 10 times my corrected clips end up looking damn close to the default Rec709 conversion in Resolve and the Footage App, does anyone forego the transfer to a Log Profile in post? I assume there’s a slight hit in DR possibilities processing them that way but if there is, it seems negligible.

@sanveer I was referring to a combination external monitor and camera controller for the BM Micro. A couple months ago @BTM_Pix was talking about cheap Chinese HDMI displays, so I was curious if he could combine that with this controller and create an all in one monitoring/menu solution for the Micro. Btw, @BTM_Pix I really dig that Nintendo controller style. I don’t mind scrolling up/down if the interface is still simple? As far as Sony cameras go... some type of control that cycled through the various picture profile settings would be pretty darn cool. If my memory serves me correctly you created something similar for Panasonic picture profiles a while back?

OT: don’t you live by the coast? Is this place inland? Either way, what an amazing location for a film!!!

This is really impressive!!! It makes me want to buy yet another GX85 or a Sony camera. Which Sony cameras will this work with and what kind of controls are you envisioning? What about the BMMCC... Is there any way to produce a version that has a monitor as well... with clean, multiple connections that would attach the monitor through HDMI and also hook into the other connections for menu control? Also, an Intellivision controller overlay could be a good idea so the operator can easily see what each button works. And then you could just switch out the plastic overlay for each camera.

That looks like a mixture of aggressive grain and compression artifacts from the jpeg. AKA Jpeg Schmegma. Plus, if I remember correctly this wasn’t shot in Film Log Mode but Extended Video Mode, so it probably shouldn’t even be counted as an example of the camera’s capabilities.

Sometimes I wonder why people treat small productions as if they’re on a Hollywood set and are required by the union to have a best boy. Thanks Kye, I’d like to see that set up.

Is the rolling shutter bad in 1080p as well on the 5D4?

The 1080p looks great on the 5D4 as well.

I can’t tell you how happy I was to hear your 1DC didn’t sell... or the guy didn’t pay... and that you decided to keep it. Do you still use the GH5s, or was that a fleeting obsession.

Well one of my friends (and actors I use) has recorded his parts in Edict Zero on an H4. But yes, I am unsure what the main creator uses. My friend has also been in The Fall and a few other high quality audio dramas and there hasn’t been any issues with his recordings. Of course he built his own sound booth, so it’s obviously not the same thing as field recording.

Btw, I appreciate the time people take answering questions and am not trying to be difficult here. Yeah, I will be, I just mentioned that it was one negative with the XLR module. I’m just confused because I have read very positive reviews on the F1, but it seems I am gettting a different story here.

Well, a refurbished H6 can be had for $288 and the F4, when on sale, is around $500... so that’s a pretty substantial difference. I can pretty much guarantee that I’ll never have an audio department so the F4, although a better investment, would be wasted on me. So if I go with a field recorder, it really needs to fit in the palm of my hands. More than likely, I will buy a DR10L and an F1 and do a side by side test to see which I like better. My Olympus was built for nature recordings, so I could always keep one of them for Foley and ambient sounds. Well I asked for advice because I am not the most knowledgeable audio person. But sometimes on this forum people ask an A or B question and get a C answer. For instance why is the DR10L better than the F1... are the preamps better? Is the F1 noisier? I know some guys who record really high end audio dramas with H4s... if the H Series sucks, then why specifically does it suck and why would these guys use it? I always try to learn a little by asking some questions.

That’s exactly what I was looking at the F1 for. I may get the XLR attachment at a later date. It doesn’t provide phantom power, but some mics won’t need that. As an all in one device it seems more useful than the Tascam plus it seems to have a better build quality.

Why the DR10L over the F1? The F1 seems to be more flexible if I wanted to plug a different mic into it or use one of their modular set ups for something later on? Also, I know you aren’t a fan of the H series Zoom recorders, but if you were forced to use one, which one would you use?

Last winter, as I was sitting on my B&H credit trying to decide my next move, I watched a ton of LS-300 videos and was really impressed with the 1080p. At one point it was down to that camera and the GH5.

Damn that camera. If it was just a little cheaper. It seems like such a workhorse with cool features. But the 4K seems a little brittle. The 1080p I’ve seen from it seems to have a thicker image. I love the color though.

I agree, the C200 RawLite is absolutely gorgeous. If you have the money for the media and the storage, you really can’t go wrong with that camera... especially if you have a specific project in mind for it that’s worth putting that little extra into. Btw, I liked the footage you posted the other day from your 1DXii. I have the trial of Red Giant Film and it’s a cool little program.

It’s always been that way. Back in the early 2000s, my friend was shooting a short film with a TRV-70, deep in the middle of a state forest. And we got stopped and told to leave because we needed permits. At that time we were young enough to say we were making a student film for school... he didn’t care. I’ve been shooting mostly B-Roll for my film in public thus far. But I usually will have my Olympus Recorder and the Rode Video Micro on camera to catch ambient sounds. And just having the dead cat of the small Video Micro has gotten me looks from cops. And passers by will stop to ask what I’m shooting. Hell, using a monopod draws unwanted attention. A tripod would probably get me stopped by cops. Hell, I bet a gimbal would even get me stopped. I specifically went out and bought the Canon 28mm 1.8 lens so I could go handheld with a neck strap for those scenes. Luckily I’ve designed the film/script in a way to take all of this into account so a body recorder will most likely be the safest option as I don’t have many scenes requiring dialogue in public. With that being said, I don’t have the budget to get a couple Tascam Lav Recorders and a field recorder, so I am trying to put together something that I can use with a regular mic on a mic stand or a boom when I have the privacy to shoot the longer dialogue scenes in private. I may be able to wrangle together enough for 2 Tascam Lav Recorders and maybe a DR-40, But is the DR-40 just a waste of money and it would be better getting a couple Zoom F1s? They seem to be getting pretty good reviews.

I will say that the Saramonic recorder may be worth a test. It seems super convenient. I’m sure it has its issues, but I have found that most issues I read about on forums are due to the operator expecting too much from a piece of equipment and their refusal to work around its limitations. For me, one man band filmmaking is about designing productions around limitations. Everything from the script to the cast to the lens choice is pre-conceived with the struggles of the production in mind. @IronFilm I think we just live in two different worlds. If I had a boom pole on the boardwalk, I’d be stopped in less than 5 minutes by a cop asking for a permit or just shutting me down. A DR60Mkii, even in a bag, with wires sticking out would get me an extra 3 minutes. @Don Kotlos thanks for the link to the dual XLR preamp... that’s definitely worth a test as well. In fact, it may be just what I’m looking for. I don’t love the size of the H6 but with all of the external controls, it seems like something I could grow into if necessary. But it was really going to be a last ditch option for me. I think I would just go for a DR-40 for a couple XLR inputs in a semi-small, self contained unit before I went with the H6. I just figured for a hundred more, the H6 could stay on the maybe list. Right now I’m leaning towards the Zoom F1. After I sell my Olympus recorders and a couple microphones I have lying around, I’ll just have enough for two units. I can then build upon those if I want to add the XLR module at a later date. Or if I want to use the F1 as a preamp for in camera audio.

Are you dumping the GH cameras and going back to Canon? Get a 5D Mark III and shoot ML Raw... you won’t look back. Of course if I could afford a C200, I’d be tempted.