mercer

Between the E-M1 Mark II and the next E-M5, I don’t see how they compete with Olympus. The price gap between the GX85 and the G9 is too big.

Yeah WTF is this? $1700 and it doesn’t even have the 200mbps 1080p?!?! The pricing of their camera lines make no sense. This is a $1200 camera at best.

I predict a GH35... everything you love about the GH5 but with a S35mm sensor and EF mount.

Gorgeous work, cantsin!!! The EF Mount BMCC may just be one of the best deals around. Cool song too!!!

The touchscreen DPAF works with the 70D and ML Raw, so it probably would. And yeah, I saw that screen on Canon Rumors a while back... it looks interesting.

Really nice looking. I watched it on my phone so I can’t tell... was it shot in 4K? It actually reminds me a little of BMMCC footage I took a while back with Jon Voigtlander 25mm.

Which is probably why Canon offered CLog with the 5Div but you have to send it in to get it or buy a new one that already has it installed. If I ever buy a 5Div, I would not buy the CLog version just in case ML ever cracks it and we can get 10-12bit, 5-6K Raw.

That sounds perfect, it’s quite possible Backbone Ribcage will have an RX0 version soon.

For those unfamiliar with the Ribcage Backbone Mod here’s a video from a modified Yi 4K and a 25mm C-Mount lens... I know the GoPro can shoot in ProTune for some slight grading, but does Yi have a similar Flat Profile? To be fair, here is a video from GoPro Air modified with the Ribcage...

Have you tried the Ribcage mod for the Yi? I’ve been a fan of it since the earlier GoPro variation but I recently saw they made one for the Yi 4K... with some old Kern Super 8mm lenses and that high bitrate 4K, there could be a really interesting look to be had. Btw, I see your point also. GoPro has gotten better with every generation but they are a bit overpriced and Yi seems to take huge jumps with every generation. How’s the build quality?

Good review. I like what you’re doing with your channel. Any plans on reviewing the 5D4? I’ve seen some really good videos from it lately. Well this is a thread about GoPro and his review was a comparison between two GoPros... so... Of course I just asked him a question about the 5D4, so don’t mind me. With that being said, I really like your Yi 4K videos... great work!!!

Haha, quick and dirty... yup... but if that’s what you’re going for, then you may be blown away by it... because it’s more like quick and damn... that’s not that bad at all.

Okay let me clarify. With the RX10ii, If shooting a dialogue scene, I would use the audio from a close up with the Rode Video Micro. With an extension cable and a boom pole, I still would. Will it be good as a balanced XLR mic plugged into a 4 track mixer and boomed by an experience operator... no. It is only $59.99. Plugged into an H1 to get some foley, I would use it. Plugged into an H1 and placed right out of frame of the talent or speaker, I would use it. Micing Kenneth Branagh performing Shakespeare, I’d spend a little more.

But I also love the size and the fact that it comes with a deadcat. I’ve used it plugged directly into a 5D3 as a scratch track. I’ve used it plugged directly into an RX10ii and I’ve used it plugged into an Olympus field recorder for wav recordings... sounded the best in the Olympus but not bad at all in the RX10ii... practically useable. In the field recorder it was definitely usable especially with close up audio.

It has a nice full sound. I wouldn’t call it a shotgun but it does seem to have a pick up pattern that biases the front. Definitely not the best but I found it as good if not better than the Rode video mic pro... especially for the price.

I personally love the Rode Video Micro. For the price and size and included accessories, I don’t think it can be beat.

Sorry you did mention the Voigtlander lenses earlier... I just had a brain fart moment. I like what you did with the blacks and whites. I started doing something similar in FCPX using one of their filter effects where I adjust the highs and lows at the end to help with roll off... it’s basically a tint effect that helps to soften the image just enough IMO. Nice job!

Although I don’t necessarily agree that the OP should follow this route for the task at hand, there was nothing I disliked in your video. Really nice GH5 footage! Nice color, some of the most natural, yet untypical Panny color that floats around the Internet with GH5 videos. What profile do you shoot with? Which lens did you shoot that with?

Is that Neutral with contrast and saturation at default 0 and sharpness at -3, or with contrast dialed all the way down and saturation at -2? If I get the RX10, I’ll be glad to help, just unsure right now since I’m in no rush to get a second camera until I can find the right price. @kidzrevil

Yeah, I liked the RX10ii from my brief time with it. For most projects I have my 5D3, but I would like a 2nd camera to shoot impromptu videos with and family type stuff. However, I don’t need the 4K, so for the money the original RX10 would really fit my needs and be more than enough as an all in one, bare bones pseudo-cine camera. So my question is, what regular profiles do you recommend ... autumn leaves, standard, portrait, neutral? Do you dial everything down?

I’m surprised that wasn’t Raw. It’s great to see how an external recorder with ProRes will deliver such great footage. Great option for a quicker 5D3 workflow. Either way, in the end, the story is all that matters and you delivered Mike!!!

No need to apologize, I prefer honesty. I come here to get better and kidzrevil is definitely a better operator and colorist than I am. I agree that my a6500 Video doesn’t look great but it wasn’t really the point of posting it, I posted it to show how sLog3 can capture the detail that a lot of other cameras will smooth over. As far as the photos/screengrabs, I actually like them... especially the last two that were shot with the 5D3 and ML Raw... can you elaborate what you do not like about them in a constructive way, so I can take your thoughts and learn from your experience?

This is great news. I love FCPX... now if only I could import and edit CDNGs.

Now as everybody knows, I am not that good of a colorist and sLog grading can be tricky for experienced colorists but here is my attempt at grading some sLog3 footage I shot with the a6500 last year. Grading aside, the shot at 1:30 in, I feel shows a little of that Raw texture in the tree bark. This is the only a6500 sample I have, so I apologize for the repost... Again, my poor grading aside, here are a few screengrabs from my time with the D5500... I loved that camera... even though it was kind of a pain in the butt to shoot with in manual mode with old Nikkor lenses... the D750 looks even better to me but I never used one. And finally, yes thank you... I doubt you remember but we had a long discussion about eos-m ml Raw a couple years back and I became obsessed with it but couldn’t get rid of this dreaded pink dots. Eventually I tried the 50D (later realizing I probably should have gone with the 7D instead... I didn’t realize how cheap they are) but the lack of audio on the 50D made it a novelty camera at best. And finally, 6 months later I sold a ton of stuff to afford a 5D3... I couldn’t be happier... The C100 is a great choice, would love to see how you’re getting along with it. Anyway, sorry @kidzrevil for the slight OT.

Max, I learned so much from your eos-m raw videos and posts that it eventually led me down the ML path to a 50D and then finally a 5D3. The workflow is pretty simple now... and if you are used to converting footage before bringing it into your NLE, it is basically the same amount of time. If you use MLVFs it’s even faster. The 5D3 and Canon lenses with IS are as steady as some variants of IBIS. By utilizing the Raw histograms with ETTR Hint, it truly becomes a point and shoot cinema camera. Otherwise what Nikon has done with Video DR and their Flat Profile is nothing short of amazing, @Mattias Burling ‘s D750 tests almost look like Raw video to me. I also noticed the a6500 has a Raw like texture when shooting in sLog3 with the cinegamut. So IMO, if you want the Raw look with out shooting Raw, then try out a D5500 or D750 or if you want to try your hand at Log again, I think you may be surprised by the a6500 and sLog3 with cine gamut 3. But from reading your posts all of these years, I doubt I revealed anything to you that you didn’t already know. Duh, I forgot to write that with Auto ISO and manual lenses on the a6500, you can set +/- exposure compensation... so to correct my post... I would set the exposure compensation at +1.7 and then use a variable ND to ride the exposure when the Auto ISO couldn’t adjust higher/lower than the base ISO/my desired maximum ISO... respectively.