mercer

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.

Interesting, when I had the a6500 and RX10ii, I would try and keep the in camera meter between +1.7 and 2. Turn on zebras to make sure nothing was clipping and then turn them off. With a manual lens, wide open, I would use Auto ISO (with the a6500) and set my max ISO to either 1600 or 3200 and then ride the variable ND to keep within +1.7 - 2 stops. To use Auto ISO with a manual lens was an amazing feature that I believed helped a ton. With the a6500 I used sLog3 with the factory settings, save for lowering sharpening or detail (whatever they call it) ... with the RX10ii and sLog2, I had the bright idea of messing with the settings... which I believed actually hurt me in the long run. Anyway, interesting read and if I ever get another a6500, I will definitely test your method. Btw, what is your favorite non-cine/sLog profile on these Sony cams? As I’m sure you know, I’ve been happily addicted to my 5D3 and ML Raw, but I kinda need a second grab and go camera... preferably a point and shoot because I don’t really want to invest in another ecosystem and I don’t want to buy a speedbooster for my manual lenses... so that leaves either a point and shoot or a Nikon. I kinda want to wait on the Nikon until the successor to the D5600 comes out with 4K... so a point and shoot it is. Anyway, as I said, I had the RX10ii earlier in the year and really enjoyed the all in one aspect of the camera. It has good audio with headphone input, built in ND, etc... but I sold it to buy my 5D3. One of my options is to pick up the original RX10 since it is so cheap now. On occasion New ones pop up on eBay for less than $500. I only need 1080p and that is right around the most I want to spend... so it could be a great option for me. I have been watching a bunch of videos online and it seems standard, portrait and neutral are the favored profiles... what say you?

Mike, great job. I love how prolific you are. It’s truly inspiring. But more importantly, it was so well done. Great compositions. Amazing color! And really good example of 5D3 ML Raw in lowlight. Did you have to use any noise reduction in post? Also any BTS info... lenses used, audio, ISO, etc... would be greatly appreciated!!!

As you know, I have been a fan of your work since your GH4 days, but I must say, your stuff has gotten exponentially better since you started using the G85 and the a6500. Your recent a6500 videos and this G85 stuff is next level. If I had any kind of real budget and was shooting something in the city, I would definitely try to hire you... I can only imagine what you could do with an Arri Mini.

Fritz, I never said I hated it. I think it’s a great camera and if I was a wealthier man I would probably own one. But when Panasonic becomes the only manufacturer to introduce 10bit into a consumer camera, one must ask... WHY? I think it’s pretty self evident. Either way it’s good for the consumer but it’s also unrealistic and unfair to hold Sony, Canon, Nikon, Olympus and Fuji to the same standards when Panasonic is the oddball. As far as likes and dislikes of the 5D3 or the GH5 or whatever... who cares what some random guy on the internet thinks? I chose the 5D3 over the GH5 because I wanted a different aesthetic... you chose the GH5 over whatever your second choice was for the same reasons. I’m not mad at you. Everybody has different tastes.

This is an issue with Panasonic’s Log profile and the only reason the GH5 got 10bit video. VLog with the GH4 was a nightmare but to compete with Sony, and even Canon to some extent, Panasonic needed a Log profile, so they used tech from their cinema division in the GH5. Unfortunately, now every videographer in the world, despite their discipline or skill level, believes if they don’t get 10bit color, they’re getting ripped off. Panasonic jumped the gun by one or two product cycles and that is good for GH5 owners, but the other manufacturers shouldn’t be held liable for Panasonic’s inability to get a Log profile that worked within an 8bit space. And at this point, for the money, if I wanted more than 8bit color, I’d go with a BM camera for the better codec and DR or a 5D3 with ML Raw for 14bit and a good color science... which is one of the reasons I did. And I’d definitely choose higher DR 8bit over 10bit. And the only reason I mention it is because there is this misconception that Panasonic gave the consumer 10bit color out of the kindness of their heart because they care about videographers and low budget indie filmmakers, yet Canon and Sony are heartless corporations that only care about their bottom line... they all only care about their bottom line and a Log profile was needed in the GH series to help theirs.

@jonpais ha, I was just about to reply about going into the inspector... if you have VLog, the inspector also has an option to process VLog clips as Rec709. I sometimes use it with ML Raw footage if I want a quick BMDFilm or Arri LogC to Rec709 conversion.

@jonpais that looks really good. I assume you are happy with the GH5? I’d be a liar if I didn’t admit that I am slightly interested in getting one, but I really don’t need another camera this second, so I am going to wait and see what that new rumored GH Photo camera will have to offer. With the GH5, I am only really interested in the 10 bit 200mbps all-i, IBIS, shutter angle option, CineLikeD, and VFR... so I am hoping that a more photocentric GH camera may have some or most of those features. We shall see. How much wiggle room do you have with the Leeming LUT? Since it is so popular, it seems that there will be a whole lot of footage floating around that looks very similar?

The GH5 is a great camera and I have been tempted on numerous occasions to buy one and if I had a more disposable income, or was a working videographer, I probably would have one by now. However, like most cameras, it isn’t the right tool for every job. I understand you cannot read a thread on this site without someone suggesting the GH5 to another, but if someone needs a camera for good lowlight performance, without additional lighting, don’t get a GH5, get an a7s or other full frame or even aps-c camera. If someone needs a camera with really good autofocus, don’t get a GH5, get a Canon or maybe one of the Sony’s with PDAF. In most instances, your clients will be happier with the results and never miss those extra 2 bits of color information.

@Kelly yeah I regret not getting the Zeiss 85mm 1.4, But in reality I need a Nikkor 85mm 1.4 more since I already have a few good Nikkors, so it was probably a good idea not to get partially invested in another set. In all honesty, between my Canon and Nikon lenses, I probably don’t even need another set but I’ve always had a thing for Takumars. I also may look into the Iron Glass Helios Cine Mod lenses since they’re fairly affordable and I have a flashback sequence that I think they’d be perfect for.

@Kelly thanks for the update and the research and tests. We’re actually using similar lenses. I also have the Canon 35mm f2 (beast of a lens... so sharp) but I have the 24-70mm f4 instead of the 105 (The IS is rock steady on that lens) with the neck strap method I can get pretty steady footage. I’m thinking of getting the 100mm f/2.8 IS L lens next and maybe the 70-300mm, if I ever need some reach, to complete the set. I have a few Takumars, both 35s, and I even have one of the old Auto-Takumar 35mm F3.5. I love the vintage look of Takumars, even though I haven’t had the chance to test them on the 5D3 yet. Instead of Zeiss, I have half a set of Nikkors, I’ve been building for a while. The 35mm 1.4 is a dream lens... great for well lit night exteriors with practical lights in frame... the blooming haze is gorgeous. But I have been toying with the idea of trying those Zeiss ZF/ZE lenses. A brand new 85mm 1.4 was on eBay last night for $500... I almost hit buy it now a half a dozen times before someone else took the decision away from me. I just bought my 5D3 six months ago after testing just about every brand of camera for a year. I don’t think I had any of them for more than a month. I still get urges to shoot in 4K, but then I get those Raw MLV files into the computer and think... what more do I need than this.

@Kelly looks great. Love that last shot. What lens(es) did you use? And do you have a link to the trailer? Edit: sorry saw you posted the trailer in the other section. I look forward to seeing it. What Takumar lenses do you have? I just picked up a 35mm f2 for a song. And I am searching for a good priced 85mm 1.8 because I’ve heard such great things.

I’ve had both of those cameras and the FZ2500 is well worth the extra money for what you get. If you don’t mind used or grey market, it can be had for well below $1000. For handheld, run and gun, no budget filmmaking, it’s one of the best cameras on the market.

Yup, the issues are almost irrelevant at this stage. I truly believe that the bases of the political parties could be swayed to believe anything their party decides to be behind. And then they unleash the base to be furious and irrational on their behalf. So easily, in America, the Republicans could have a stake in fixing climate change due to their history of conservation and Teddy Roosevelt’s Republican Party. So easily, the Democrats, with their belief in bigger government could be against a woman’s right to choose. The parties align themselves with issues and they expect their flock to rabidly fall into line. Unfortunately, most people are such sheep that they would rather root for their team than acknowledge both sides of an issue. And in this instance, it’s not about acknowledging if climate change is real or not, it’s about how far can we afford to go and how quickly without effing up the world economy.

With the regular ML Raw, not the experimental builds, I got 10-20 seconds of recording without any issue. It’s not full 1080p though.

I’ve been watching a friend of a friend’s short films this morning that were shot on a 70D with original Canon FW and they are great, never once did the IQ, or lack of, get in the way of the story or quality of filmmaking skill.

I decided a while ago that for short narrative films, there isn’t a better option, unless you want to go the BlackMagic Pocket/Micro route, but even then the FF sensor of the 5D3 and the native lenses with OIS wins, IMO. With that being said, I’d hate to discourage younger, newer filmmakers from going out and making a movie if they want to but cannot afford a 5D3. For me the best option is the 5D3. If you have a smaller budget, then there are a lot of options. The idea that you need Raw or 4K to shoot a good narrative short film is pushed by people that lack creativity. The best advice is to buy the best camera you can afford, learn how to use it and make the best film you can with the resources you have.

I am sooo tempted to buy an a7s for its amazing lowlight 1080p and then some external 4K ProRes. But it’s still a few hundred away from a must buy for me. When I can get a like new one for $1000 or less, I’m on it. With that being said, I would stick with my 5D3, unless I could afford a C200 or an Alexa Mini. I’ve also been really impressed with a lot of the LS300 footage I’ve been seeing lately. I’m just waiting for an indie film to use that camera. I can’t believe nobody has yet. A friend of mine sent me this link and it looks amazing...

I think people are overthinking this fun hypothetical exercise. I believe the point is... if tech stopped now and we were left with what is available now, then what would people choose based on what is on the market now.

Why not just set the camera to be at 180 Degree shutter angle instead and then you’ll never have to change it?

Dude, just retire from all camera and color testing and shoot a feature film with whatever you just did there. I keep saying a modern day Mean Streets with your visuals would be awesome and this 80s film look is phenomenal!!! PM me the special sauce though. What iso did you shoot that at?

@Andrew Reid how’s the 1080p?