mercer

I think it depends on what kind of shooter you are. I am a lazy shooter. I shoot wide open and use a variable ND to ride exposure. If you are a more traditional, proper shooter, then the cine version with the declicked aperture will give you the minute adjustments you may need for proper exposure in certain situations. I’m also a one lens kinda shooter. I shoot run and gun and usually don’t have the time or opportunity to change lenses, so I zoom with my feet. I’d love a compact, lightweight, fast zoom but they don’t really exist. So with that being said, maybe get the focal length you’ll use most for video in the cine version and then the other two in the photo version... Just a thought. Btw, I have used both the 12mm and the 21mm and was very impressed with both lenses. The 21mm is a great focal length for Micro 4/3.

You know what could be cool though... but probably damn near impossible... to open up a GX85 and a BMPCC and replace all the parts except for the IBIS... so a Pocket cam inside a GX85 body... @BTM_Pix I nominate you for the task. Good luck and let me know when it’s done.

Okay, I think I figured it out, he opened up the NX1 and took everything out and replaced it with the innards from a 5D3 and then installed Magic Lantern.

I think that’s debatable and may be up to personal preference. Of course I shoot FF and 14bit... so I get my cake and eat it too.

Ohhhh.... it’s a mod. I had read that comment when I was going to sleep one night so when you said you opened the box, I thought meant figuratively, not literally. Hmm, interesting. Then if I had to guess, you found some kind of governor on the burst mode or intervaleter. Btw, no pressure from me. I don’t even own an NX1 or plan on getting one but I do love Raw video, so I am very interested. Good luck with your studies.

Oh I agree, but I cannot imagine this was something he just started yesterday or last week, so to mention it now, and not then, seems odd. And now it’s being dangled in the air like a carrot. It’s just odd is all. It reminds me of the build up to the GH5s. It was so secret, yet grandiose that the reality couldn’t live up to the conjecture. I have a feeling it’s a roundabout way at Rawesque video and not necessarily uncompressed cdng. But I will add that I do not think it is malicious at all. I believe he figured out something cool... just maybe not what we think it may be... or hope it may be.

I don’t know. Maybe? Yes? Definitely? No way? My level of programming is barely understanding how ML Raw works. As I understand it, really fast cards are needed for the buffer. With ML Raw, the 5D3 is king due to CF Cards and buffering speeds. 4K Raw is buggy and not even stable or continuous in 14bit. So I am led to believe that this is a combination in camera and post process to receive this Raw video. But again... I don’t know. But I will be interested to find out. The fact that he is worried about the legal aspect makes me even more curious because there shouldn’t be any legal issues with modifying your own camera. The ML team could not be sued for doing it, so it seems this shouldn’t be an issue either?

No offense to Arikhan, but it is these hyperbolic statements that make me question this. To write code or figure something out that will be on all tech blogs radar and will affect Samsung’s IP is a pretty bold statement. It took a team of rather brilliant coders and a lot of time to figure out ML Raw and then write and crate MLV files... so as I said in the other thread... interested but skeptical.

This definitely seems interesting but I am a little skeptical. I’m confused because I’m unsure if this is an in camera hack where you’ve figured out how to write motion or cdng files in the NX1 (or an equivalent like MLV) or if this requires something in post to complete the process? If it is internal I can only imagine you may have harnessed the Raw timelapse function or something? I don’t know... interesting either way and I look forward to the results. Any way it would work on an NX500?

Honestly, your first reasoning... that you don’t have vLog, is the perfect response. I was always a fan of CineLikeD. I thought there was always adequate DR and enough flatness for some grading. You really had to nail your WB or correct for the orange... neither was a horribly difficult task in post. And with 10bit, it should be a breeze or not even an issue.

Nice, that may be my favorite from this series.

Interesting. Why not just shoot in vLog rather than in a standard profile and use the reverse method? It seems like there would be a lot of other variable... picture profile settings... etc.

@anonim I’m on my phone right now, so it’s kinda hard to tell. I’m also not that big of a pixel peeper. I would assume the GH5 can do 10 or 11 stops, maybe 12 with vLog. The guy who posted his test before, recorded a DR graph he got online. I don’t think it’s that accurate but it gets you in the ballpark if you’re worried about it. To add to my earlier comment, I went back and looked at some of my old BMPCC/BMMCC footage this morning and I actually think there is only a half a stop to a stop difference between ProRes and Raw... really hardly noticeable at all.

I’ve noticed a little difference with the BMPCC and BMMCC between Raw and ProRes. I would say 1-1.5 stops less in ProRes. Obviously the major difference is in film mode vs video mode and that could easily be 2-3 stops. The advantage of Raw is in the color tonality. Living in the woods and shooting in rural areas, I notice it in tree bark the most. Raw will record the textural difference in a more 3D way. This can easily be described as having more DR but I think it is the minuscule color tonality that Raw is capturing and not necessarily the traditional idea of Luma based DR from shades of whites to grays to blacks. This is also something more noticeable in clouds. Years ago, there was a kid named Zach who used to post here and he was very happy with his t2i. As he should be, the t2i was a great camera back in the day. Well he decided to post an image in an attempt to decipher how many stops of DR he was getting using Tragic Lantern. I think the consensus was 6-7 stops. 6-7 stops. This was from a camera that helped start the DSLR revolution... a legend in its own right. And now, only 5 or 6 years later, we’re arguing about what camera has 1 or 2 more stops of DR... hell the fact that any affordable camera can get over 10 stops is amazing.

Keep working at it, you’ll get there. Seriously though, that looked really good. But (there’s always a but) as good as it looked, I’m fairly certain, with all else being equal, that similar results could be had with a G85 and CineLikeD. But in the end it doesn’t really matter, that would have been cool if it were shot on mini dv.

This is just getting silly now. Canon is a company that is in business to make money. To make money, a business needs to offer a product or service that people want or need. If the entry level market needed these “features,” that Canon apparently diabolically leaves out of their lower tiered camera models, and Canon was losing sales opportunities based upon these needed features, then why wouldn’t they include said features? Furthermore, I am one hundred percent sure Canon understands the entry level, interchangeable lens, camera market better than some videographers on a forum does. It’s been repeated time and time again on this forum that the market share isn’t large enough for all of these companies, so eventually other companies will go the way of Samsung and I can guarantee it won’t be Canon. With that being said, I do wish Canon would be more aggressive with their lower tiered products because I love using Canon cameras. But when it comes time for me to upgrade, and if Canon doesn’t offer a product I need or want, then I will look elsewhere but I won’t waste my time assigning conspiracy theory motives to their marketing and product choices.

The 5D Mark IV is a professional photography camera that shoots video, not a video camera. Just because Panasonic gives those features on a camera doesn’t mean every brand has to or needs to. Sony and Panasonic serves their other industries with their camera lines. Sony shows what their sensors are capable of in their cameras. Panasonic introduces HLG/HDR to create a market for their TV features. All of these companies have agendas, people just have blinders on when it is the company who manufactures the camera they enjoy the most. Most likely, the only reason Canon even put 4K in the M50, is to entice smart phone users who are looking for an interchangeable lens camera. But they surely won’t give all of their top of the line features to one of their entry level cameras... Especially when they have the 7D Mark III and 90D release on the horizon... no camera manufacturer does that. To add, we’re hanging out in a prosumer/consumer, photographers world here. To evaluate these camera releases solely on video features is an exercise in futility.

Yes in 1080p but I assume there may be an overheating issue with DPAF in 4K on such a small camera. Probably why there is a 4K video crop as well.

C’mon now Jon, Panasonic doesn’t even give the all-i 1080p to any of their sub $1000 cameras. All companies have product tiers with more features in the higher tiered products. The 5D4 is nearly two years old with the older processor. And to many, mjpeg is a solid codec that editing programs can cut like butter. Some of my favorite Panasonic videos were shot in mjpeg with the GH1/GH2 hacks. I don’t really care what cameras people use. In fact, I love the competition these companies have. It only helps us. But this notion that Canon isn’t innovating or they’re holding back is ridiculous. They’re the first company to have fully manual video mode, first 4K DSLR, first 4K 60p DSLR, first company with usable video AF, first company to put a Log Profile in a DSLR... etc...

You could always do the old mini dv trick of stacking the same shot on two different video tracks. A B&W video track of the same clip with a lower opacity can beef up the image a touch.

No, a GH5 cannot record 4K ProRes. So, you would either need a 4K recorder or a higher end camera like one of the BlackMagic Ursa cameras.

Great samples. And very good points, Jon. Although it should be mentioned that those videos were shot by professionals, with professional crews, using professional lenses, and professional level support gear, corrected and graded by a professional colorists, with a professional production staff to put all of the elements together. Those guys, with their resources, would make a t2i look amazing. With that being said, the GH5 and GH5s are amazing cameras and would be for double the price. And I don’t see anyone arguing this with you.

Seems interesting. I wish Kinefinity would come out with a pocket camera. If it were cheap enough, I’d definitely give it a try... and maybe a direct competitor for BM would give them a kick in the ass to develop a pocket 2 or lowering the price of the original.

Cheap Nikon Series E 50mm 1.8...

128 will give you about 25min