mercer

Oh. Honestly, I was surprised at how much detail the fence had... although mushy. But any brick work will be a disaster on a Canon, and the fringing with that lens doesn’t help either. I’m right with you, I tested so many cameras over the years, it’s hard to keep them straight. Here’s a video I love that was shot with the 80D... the filmmaker did a great job using the camera’s strengths to his advantage... good storytelling didn’t hurt either...

Yeah, unfortunately, as you know, Canon and wide angle shots do not mix. Of course, the Fuji didn’t look too much better. With rumored 4K on the upcoming M50... it may get better.

Sorry, didn’t mean to insinuate that you were a noob. But that’s not really the best shot to show off any Canon camera’s strong suits.

Yeah, I don’t care if you love or hate the camera but that is a tough shot to expose, with a slow lens, when you expose for the sky and expect the dark fence to be clean... you can’t always protect your highlights.

Thanks but no. I had the camera last year. I really liked the camera, though but eventually moved onto the 5D3 and Raw Video. How do you like it? I’m hoping the rumor that the XC20 will have an interchangeable lens mount is true.

Sell it now and go Full Frame. But congrats on finding it... that must have felt horrific.

What lens were you using and what ISO did you shoot the 80D with? I’ve seen some clean 80D video online.

Yeah, since you’re a hobbyist and if you could get a 5D Mark III within your budget, then I can not recommend it enough. Raw video will change your life... LOL. But if you don’t feel like messing with the workflow, have you seen Mattias’ D750 review? That’s another great option. Good luck with your new camera.

@jonpais And yet your best footage posted on this forum was shot with a Fuji... those bastards and their lack of zebras. ?

@kidzrevil are you using Neat Video for noise reduction with ML Raw?

The question of the ages, right... If a C200 autofocuses in the woods but there is nobody there to FaceTrack in Raw, did it ever really autofocus at all?

Yeah, I honestly think for the kind of work you do, you would be better off with a D850. You’ll get great DR and color with clean shadows. I love my 5D3 and ML Raw but it’s not really the right tool for lowlight interiors. Cantsin also made an excellent suggestion with the XC10. Great color and clean 4K in an all in one solution.

Of all the camera companies on the market, I actually believe Panasonic will be the next to bail out of the consumer/prosumer camera business. I assume the GH line will be moved up to their cinema division by the release of the GH6 and with it... a price increase. But to stay on topic, I think the Terra 4K is really exciting and has a beautiful image... a true cinematic image at a reasonable price point... and I’d love for Kinefinity to take on BM where it will hurts... the Pocket Cinema Camera niche.

Even Resolve’s Default Timeline Color Space looks pretty good for a quick turnaround.

Thanks! Between this and the MLVApp, it’s almost impossible for even me to mess up this footage... lol. I recently processed this through the MLVApp as LogC. Even though it’s in B&W, I used a LogC to Rec709 LUT and an S-Curve before desaturating it.... I love my Nikkor 35mm 1.4...

Thanks Stathman... as I expected... user error. I went back and downloaded everything again and now it’s working brilliantly. I have some reading to do but it seems pretty amazing I don’t know why I’ve been fighting this. I suppose the “local host” is a good way to preview your clips and see the metadata before opening in Resolve? But I noticed there are some fixes you can do... pixel fix, vertical line fix, etc... I didn’t click any of these before opening in Resolve... do you recommend I do?

Do you know anything about the Mac version? I downloaded OSXFuse (or whatever it’s called) and followed the directions but I am not seeing any options for MLV when I right click. I see there may be a script to upload somewhere, but again it seems unclear... but I’m sure it’s me. In FCPX, when you cut a clip and then delete the unwanted portion, the gap left in the timeline is instantly and automatically filled by the remainder of the clips in your timeline. It seems your right clip selection sounds what I’m looking for... thanks.

You have to do fade to color. And yes, there are some silly effects included and it’s silly that I can only save one effect at the top but then again everything else works better than any other editor I’ve used. It’s more intuitive than Premiere or Resolve. Or I think there is a fade in in one of the drop down menus... maybe.

Thanks Deadcode. Here’s a Resolve question that I was wondering about. In FCPX, the timeline will regroup clips after a cut, is there a way to do that in Resolve? I’m using the newest version and prior to a few days ago I was only using Resolve to process the Raw clips through to ProRes but I tried doing a rough cut of my clips before rendering it out and that sped up the process a bit.

Is selling the dongle even an option anymore now that the full version is so cheap?

Considering the cost of Neat Video, is it worth the extra bit to get full Resolve for NR? Is there anything else that is helpful in full Resolve for ML Raw? I’m hoping it was the 100mm f2.8 because that lens is on my list. It should go nicely with my 24-70mm f4 and my 35mm f2.

Not at all... unsure where you got that from? Just curious your thoughts on which lens he used for the opening shots.

I was under the impression that most Canon USM lenses arent FBW... well there’s obviously an electronic focus but nothing like mirrorless lenses have and still slightly mechanical with how the focus ring turns the motor.

I tried the auto ETTR once in Shutter priority mode and everything went bonkers. The ISO was jumping all over the place. Full manual works way better in my opinion. Although I have tested Shutter priority at +1 and it was okay when all things were equal. @webrunner5 good find. The separation in the earlier shots is insane. I saw he shot with the Sigma 50mm and the Rokinon 85mm (among others) I wonder which of the two were used in those early shots... I’d ask him on Vimeo but his page hasn’t had an upload in 4 years... so I may be waiting a while for a reply...

That happened with me too on the 50D and eos-m... regularly. But I haven’t had one issue with the 5D3... it’s a different beast.