mercer

Sorry, didn’t realize you already have an NX500. I didn’t own a native lens when I owned mine, so honestly I didn’t even realize it had PDAF... I probably wouldn’t have used it anyway at the time. With that being said, the 4K AF on the M50 does not look that good... don’t know if that is a dealbreaker for you. Rolling shutter doesn’t look that great either and I don’t remember there being any issues with RS on the NX500. So if you need really clean 4K with PDAF quality AF, the M50 isn’t probably for you. If you can get by with good 1080p and the best AF in the industry, then maybe it’s worth it.

Have you compared the 6K anamorphic mode from the GH5 to the 4K of the s? Any discernible differences in IQ?

Was that rumored 15-40% GH5s price reduction a bunch of BS or is that still floating around?

Well to be fair... The Grand Tour ordered 4 GH5s’... so that’s just guaranteed money in the bank... The GH5s is intriguing and I agree that sensor is pushing a little more mojo than the GH5 but dollar for dollar, if I were in the market for either/or, I’d go with the GH5 for IBIS and 6K anamorphic. However, I still think both cameras have an innate videoish look to them that reminds me of PBS local programming or low budget travel shows.

I have been seeing some nice footage from the GH5s. A lot less footage than a month or two after the GH5 release, but better quality overall. But... It still should have had IBIS... probably the biggest product mistake of the year. If you’re okay with import models, a GH5 can be bought for $1499 brand new. With IBIS and 6K anamorphic... it’s hard to beat for some extra lowlight...

Buying an NX500 right now at $700-$800 (used price) and Lenses for it is akin to buying a bag of rocks. In static shots the 4K I’ve seen from the M50 looks pretty good. The rolling shutter is troubling and the AF needs some tweaking but the 1080p looks really good with amazing AF. So I’m my opinion, I think it’s an okay first effort into 4K in the entry level, consumer camera, 4K market.

Yeah that RS is horrendous. As is the AF in 4K. But, on my iPhone, I really could tell no difference in IQ between 1080p and 4K. Hmm... I still think this could be a good buy when the price drops.

The M50 should be as good as the NX500 with a hair less MPs. The crop is about the same and I’d suspect in most situations, the M50s 4K AF will be better. Plus the NX500 doesn’t have full time focus peaking, so as soon as you hit record you lose it plus there was something odd with framing... I believe it had to do with it not having an official movie mode. And finally, if you need this for vlogging, the 1080p will be fine with great DPAF and no crop.

And here is his updated review of the 80D...

How do they look?

Well how relevant is a C100 in 2018? I’ve seen some beautiful footage from the original. And when they go on sale... the price seems unbeatable at $1700. Have you guys noticed an increase in work just by having a C100 in your kit?

Yeah, video monitors are cumbersome on small cameras and draw unwanted attention.

@canonlyme yeah but I am partial to the 35mm 1.8... it’s probably my favorite lens of all time. For your needs, the 24-35mm should be a perfect solution. It’s been described at Rokkor Files as being 3 prime Lenses in one.

@canonlyme yeah that seems like a good price. I just sold mine yesterday for about 100 US... so that’s about the same, right? And yeah I’d rather use that zoom instead of the 35mm f/2.8 for the same money... now if you could find a cheap 1.8, then I would recommend that over the zoom. Honestly I have no idea if this lens will hit the glass on the Turbo II... I’ve never used a Speedbooster. And yeah, I shoot Canon 5D Mark III raw now. I’ve been with it for about a year now. I’ve had a couple second cameras since, but I’ve sold them because nothing I have used has matched it. And although they were meant as casual cameras... I never used them because I love the image I am getting with ML Raw to even be bothered with the other cameras. Have you done the CineLikeD hack that BTM discovered? Also, nice photo... what was that shot with?

Thanks Dustin... empty woods and a deserted campground definitely has a chilling feel to it when you’re by yourself shooting.

@canonlyme thanks I prefer a more muted look like 70s/80s films. But most people prefer the pop of a vibrant, saturated image. I believe the Minolta 28mm f/2... the MD version not the MC version has a CRC floating element for sharpness. The MC lenses have a more dreamy effect where I find the MD lenses have a more modern look to their rendering. But I am a lazy operator and usually shoot everything wide open with a variable ND and I usually use cheap ones because I haven’t noticed that much of a difference in sharpness between cheapies and expensive ones. I also only use variable NDs that have hard stops at either end. So I use the Bower brand for their price, hard stops and very neutral color cast. Well, these cameras are known for their sharpness and I downscale 4K to 1080p for easier editing... so that will make it even more sharper. I actually like softer videos. Quick question... with Canon in your name, why not shoot Canon?

Here’s another video shot on the GX85 primarily with the MD 28mm f2... and a few shots with a Cosmicar 25mm f1.9 c-mount... Looking back at it, it’s way too saturated in most of the shots, but again, it should give you an idea of that lens on the GX85.

It’s on eBay but I only sell in the US. For the amount that eBay and PayPal take from a sale, and for the price of the lens, it’s not worth the paperwork to sell it overseas. If you’re looking for a great Minolta prime, look out for the MD 28mm f/2. I shot this with it on the NX500. I was going for a muted, vintage look, so it isn’t tradition Minolta colors and contrast but it will give you an idea of the lens’ characteristics. There’s also a shot or two from the 24-35mm... the ones of the boardwalk binoculars.

Although it’s fun to experiment with different lenses, for the cost of a 3 day rental, you can be halfway to the cost of ai-s 35mm 1.4 or buy an ai-s 35mm f2 outright. Or it could be money towards a Zeiss 50mm 1.4 ZF.2 which has been reviewed as being pretty close to superspeeds for a still lens. Sure the Otus will blow away those older Nikkors and the ZF.2 but in the end, the owned lens will be a better investment.

I like the desaturated background. Are you saying that the shot is too sharpened and noisy to begin with, or commenting how ML Raw turns off sharpening? Of course, I think I left sharpening at default in Resolve before I converted to ProRes.

Interesting... goes to show you that almost any lens can look good under the right circumstances. I believe the “Beercan” refers to a Minolta A mount zoom. And finally yes, the 24-35mm is awesome. That’s one of the lenses I have up for sale that I regret selling before it’s even sold. I may end up keeping it for Canon Mirrorless though. It’s such a nice little lens on aps-c... basically a 35-50mm... my favorite range. With a Speedbooster on m43 it would be about the same. Actually it probably makes more sense on m43 with a Speedbooster because it turns the kinda slow f/3.5 into a modest f/2.5.

Those are photographs and not 4K screengrabs, right? Either way, they look nice. The motorcycle looks great. Do you have the MD 50mm or the MC PG? I have the latter and I paid $35 for it and it is one of the best lenses I’ve ever owned... especially in B&W. As I said before, I don’t even own a camera that I can use the majority of my Minolta lenses with. But buying one for them sounds like a better idea than selling the lenses... lol.

120p in a 30p timeline? That must’ve been some fast snow.

@canonlyme I prefer the last one the most, which I assume is a Minolta. 3 and 4 seems to render the OOF areas differently, so my guess is that’s the Soligor, or maybe the Beercan? And then the first one has a warmer tonality than MC/MD Minolta lenses usually have, so I’d guess that one is either the Soligor or the Beercan as well? They all look pretty nice though.

Yeah, I definitely need the paint by numbers version of this color conversation.