mercer

Well... if you look at the best directors of the best films, they were very much in control of the visuals of the film. They ARE the filmmakers. It's their singular vision and the collaboration lies in the crafts that support their vision.

If I remember correctly the XC10 could AF in MF mode by pushing and holding in the Push AF button at will and it would lock on until you let go. I remember it being one of the cooler functions of the camera. In many ways, it was a semi-automatic camera. There was an impromptu element to operating it that made you feel like you were a character in the video you were shooting. It was a fun camera... even with its flaws.

This... except I would argue that theme is craft... just a different discipline. But I get your point. I'll take it a step further due to this thread. A writer/director with an inkling of visual sense could take any of these crappy cameras... or a camcorder and make a sale able or popular film. On the converse, most craftsmen on the technical side of filmmaking still need that writer or director to utilize or show off their craft.

Nice, the 1N sounds like a great camera. Since I already own some EF lenses, I'm looking to pick up a cheap rebel and get some auto features. I must admit that I have a bit of GAS with film cameras lately. I started researching and shooting some film last summer. I started with P&S cameras and rangefinders but the first camera I bought was a brand new Nikon N6006 for $48. I didn't have an AF-D lens for it so it sat away in the closet and I eventually listed it on eBay... it hasn't sold yet. Since then, I started buying and shooting with the typical SLR cameras from the 70s/80s... I'm narrowing down my favorites and will keep a few. I tried to make a rule to only buy an SLR that I had a lens for. Other than the N6006, I've held to that rule. Of course, this rule reminds me that I have too many lenses and I need to thin my herd. And with that, I'm thinking of picking up an AF-D lens for that N6006... haha. It seems like a fine brick of a camera actually. Good news is that I have been looking for an excuse to buy the Nikkor AF-D 35mm f/2 for years... Ugh.

I don't agree with everything you said here, but I think what you're describing is exactly the spirit of this thread. Be it an FZ47 or a Canon t2i... a GH2 or an iPhone... beautiful images can be made with discarded or unassuming cameras. Some of them even have a look that is equally as interesting as old film or something very high end. I've posted these a bunch of times, but I love what the RX10ii can capture in sLog2 with Monochrome color... Or this shot from the D5500 and an old Tokina 24-40mm zoom lens... Now I'm not saying they're great images or anything, but I think they show that these old neglected crappy cameras can produce something interesting... good, bad or otherwise.

Right of course, but I think ergonomics can play a part. Sure it's psychological, but I know I am in better spirits when I'm shooting with a camera that feels like an extension of my arm. If I feel better about the process, then I see clearer and can enjoy the process a little bit more. Sometimes the tools matter more than just the specs.

@hyalinejim what SLR/Lens was that with? Beautiful shot.

Kodak claims 20 stops and Arri claims 10 stops of DR for negative film... so it's probably somewhere in the 13-15 stop range.

How often do I mention that I'm interested in another camera? And then how often do I buy said cameras? Even though I know the camera in and out, and could probably shoot with it now without any exposure aids, and even a blacked out LiveView, I still feel like I am scratching the surface with what the final output could look like. Other than maybe the FP, I don't know if I could get a purer image without spending a lot more. At that point, I may as well just rent cameras.

They're pretty cheap now. I still love the image and I know that any limitations there are is more based on my skill than the IQ of ML Raw. That's pretty cool. Slowing down makes all the difference sometimes... artistically and practically. I'm sure I would love a Leica, but they're a bit out of my price range. I follow Mattias on IG and he's been shooting with a Pixii camera lately and it's some of his best stuff. Gotta love rangefinders. I just picked up an old Minolta 7s II rangefinder. The damn thing is TINY and the rangefinder patch is just dull enough that it slows me up a touch more. A lot of fun to shoot with.

You are correct, the optical viewfinder does not work when in Live View on Canon DSLRs. But I have never heard of any Canon DSLR's Live View going black

Well done!!! I just love this. Great shadow work. It reminds me of Ilford Film. Was this shot in vLog? I knew the S5 would be great for run & gun B&W!!!

I agree about film for stills, though. It really makes you slow down and find your shot.

Nah, the stable Nightly Build is 1080p Full Frame 14bit 16:9 Raw. It shoots continuous with proper live view. Playback was wonky when I tried it back in '17 so I never tried it again. It has exposure meters including a Raw Histogram with an Over Exposure Warning including which channels are clipping. It has peaking and "Magic Zoom" ... punch in while recording. Everything is stable and I've never had any hiccups. Only the Experimental Builds have a crop and a wonky Live View.

Ha.. $999

Hmm... what an odd upgrade. I think your idea of a 4K Pro would have made more sense. Every 4K owner may have traded up to a 4K Pro... but I'm not so sure they'll trade up for a 6K G2. They could have dropped the price of the 4K to $99 and introduced the 4K Pro at $1499. I may have been interested.

I suppose, but filmmakers shot feature films for years on film without any playback. It's a modern comfort. Now I'm using an old build from 2017, so it's possible they've figured that out since then. For me, the 5D3 was so very liberating because once I used the camera, I didn't look back... or forward. The image was MORE than good enough for my humble hobby. I wish I could have that epiphany with some lenses. Neat trick for the F5... let me guess... 9 out of 10 times you got the shot?

That may be the case, but so notice zero difference in the time it takes to render converted files vs MLVFS. There is a difference if I'm working from the cards as opposed to a drive... but I assume the card reader is the bottleneck in that scenario.

I've edited straight from the CF cards.

Yup it's some kind of filing system you download so then you right click your mlv folder, scroll down and choose MLVFS, assign them to a different folder and open them in Resolve. Then somehow or another it tricks Resolve into thinking they're CDNG files.

Exactly, but the workflow isn't really annoying either anymore. With MLVFS, the MLV files can be brought into Resolve as if they're CDNGS... then you can color and edit them like any other files.

Sure if the OP is basing his purchase of a 5D on the experimental builds, then it's probably not a good idea to purchase one. There's a crop and the last I checked there isn't any real, or accurate, Live View. With that said, Andrew has a gorgeous sample of the 3.5K mode, and I've seen dozens of samples online. Even the eos-m has some nice features and IQ if you like to tinker. But based on what he said, it doesn't sound like that's his goal here. I was merely correcting a false narrative that ML Raw is entirely useless on the 5D3. I mean, a filmmaker recently had his 5D3 ML Raw, narrative film debut at SXSW and received write ups in all the Hollywood trade magazines. Of course, he shot it in 1080p, but if it wasn't dependable, I doubt he would shoot a feature film on it.

Those build are literally listed under "Experimental Builds" I don't know if you can judge the entire Magic Lantern Raw firmware based on a build that is titled experimental. With that said, I agree that it really isn't for everybody. If I was starting in video now, I'd buy the Panasonic X1500/X2000 camcorder and shoot 10bit 4K up to 60p in their Cine Gamma (or whatever it's called). If I wanted Raw Video (I would) I'd buy a Sigma FP. It isn't as good for stills, although a Flickr search may contradict that, but for video... there isn't much better at that price range right now... If the OP wants IBIS, get an S5... If he wants AF and IBIS and doesn't need 10bit, then the A7iii will be fine as well. But... what do I know? I still shoot with a 10 year old hacked camera. I'm happy with it, but it's not for everyone. Here's what I captured with mine in my first week with it... But as I said... what do I know? I shoot stills on film and am thinking about buying a Bolex 16mm... so I'm hardly like very many users of this forum.

As far as I know, 1080p Raw runs continuous on the 5D Mark III. I've gotten as much as 10 minutes. If you need 30 minutes... buy a camcorder.

I haven't read this thread, so I have no idea what the needs/wants of the OP are. I am only replying because I was added to the discussion... I really don't understand why people on this forum keep saying that the 5D Mark III with ML Raw is unreliable? It is a hack, in a way, but it's more of a separate OS for the camera that can go back to the factory firmware at any time. The settings and workflow are a bit convoluted, but I have NEVER heard of anyone bricking their camera with ML Raw. Is it possible? Well, the ML team says it is in their disclaimer, but it's common knowledge that's just a disclaimer so they aren't held responsible in case something were to happen. Once all of the settings are figured out, the camera literally works like any other camera, other than the ability to play back and watch your files. It was a bit scary at first to not have that option, but once you shoot with it, you just trust that you got the shot. Otherwise it turns on and you're in Magic Lantern's menu and off you go. The only other downside is that you have to format your cards on a computer to exfat. The 5D3 is different than other models because it has an SD card slot and a CF slot. You install the firmware onto the SD card and record onto the CF. Other models require you to load the firmware onto the same card you're shooting on. With the 5D3, you load the firmware to the SD card once and leave it in the camera. With that said, this information is only based on my experience with the 5D3 using a stable nightly build. I've never used the 5D2 or the eos-m. I did you use the 50D once and that was a hot mess until you got the footage into the computer and saw the image. It's what got me hooked on ML Raw. And with that said, when asked if somebody should get the 5D3 for ML Raw, I usually say NO. 9 out of 10 times, people don't like the extra workflow and are intrigued by the experimental higher resolution modes which are finicky. For full frame, 1080p 14bit Raw... the camera cannot be beat!