mercer

No purpose really, just curiosity. I am thinking about getting another Micro in a couple months, especially after seeing that the Ursa handgrip works with the Micro's Lanc.

What zoom did you get? I have such a love/hate relationship with BM cameras. I had the BMMCC with the Voigtlander 25mm and loved the image but hated rigging it. I then bought the Pocket with the 12-35mm and loved the image and the handheld aspect of an OIS zoom but missed the 60p. Then I went off on a tangent with a few other cameras until I ended up with a 5D3. I eventually will be in the market for another camera, something with a little simpler post workflow, so now I am thinking maybe I should get another Micro with the 12-35mm for handheld/monopod 60p ProRes... LOL. Anyway... good luck with the Pocket. I loved your F3 work, so I look forward to seeing your Pocket films.

Please post it here if you do. It would be interesting to see how your vision of the video affects the tone of the piece. Btw, did you get a chance to man the camera, or work with the files at all? Would love to hear what shooting with an Alexa is like. Also OT: have you done any creative work with the 80D? Little by little my Canon lens collection is growing and I have almost pressed Buy it Now a couple times, but I haven't seen enough creative work done with one to justify it yet. As an events workhorse camera, it's a no brainer for the price, though.

I was always curious how that 9mm body cap lens would fare on the Micro... how do you like it? I have seen a few videos with it on the Pocket and it seemed better than expected.

Oh I'm sure it looks amazing. When my 720p JVC dies or my 1080p Roku TV goes caput, I may get something like that.

I'm sure it is, but 8K is awesome too, why not buy a Red camera? 2.7K ProRes in Arri Log is unbeatable, why not buy an Alexa Mini? I make few stances in life and kinda go with the flow, but there are a few things that I refuse to do... I will not do self checkout... I do not go to stores to work. And I will not let a corporation dictate what I purchase because their development is faster than consumer purchasing cycles.

Looking good, Matt. I liked the first shot the best. They all look good though and I would say you are nailing a very filmic look with Panasonic cameras. My only suggestion is... make a movie now. Or get a G85 for IBIS and then make a movie asap.

Don't let the new GH5 setting sucker you into buying a new TV...

Tokina Angenieux 28-70mm with 5D3 ML Raw...

Nice work. I think I like the 50D version better but you did a great job with the G7 footage.

Nice work, Dave! Loved the choice of focus points in the shots... great blend of craft and storytelling. Why 4:3 though?

Very impressive. I really love how you push these cameras toward cinema. Beautiful work. Sucks to hear about the water damage though.

Yeah I found some problems with the greens in V Log as well. I really had to desaturate the clip after making it Rec709 to lessen the green. Here's an ungraded and graded screengrab from Andrew's footage, in case someone else wants to give it a go but cannot download it. Thanks for the test footage, Andrew. Ungraded Graded Obviously I'm not a good colorist but it should be interesting to see what others come up with.

I believe the C200 has zero noise reduction, and I believe that's a positive?

How is the 10bit 4:22 1080 All-I?

Nice. I've been meaning to ask you Jon... how did a guy from Detroit end up retiring in Vietnam?

I think the Micro is better than the Pocket. The sensor seems different. I didn't love the rigging involved with the BMMCC, but the files were beautiful to work with.

If that's still happening, then I don't see why it wouldn't count... but you do have four more months, so why not make another? And I'm unsure if you can change the direction on those rail free units. How did the shoot go, btw? I look forward to seeing some screengrabs!!!

No but they do sell rail-free follow focus units that would probably work nicely with handheld in a pinch. @PannySVHS Also, I think Duclos will mod any lens if you approach them. Of course it would probably be cheaper just to buy an actual cinema lens.

I had the GX85 for about 6 months last year and I was blown away by the IBIS. The ability to use old c-mount lenses and vintage primes on a modern 4K camera handheld was very cool and in a lot of ways spoiled the way I shot. But I did notice some of the issues you mentioned and it was never perfect, but still better than lugging around a tripod. Then when I decided to move onto a more cinematic look with the 5D3 and ML Raw, I assumed I would just use my ai-s lenses, but I decided to try a native Canon zoom... the 24-70mm f/4 and I was stunned to learn that the OIS on the Canon lens is as good, if not better, as the IBIS on the GX85. With that being said, I wouldn't necessarily recommend that you go out and buy a 5D3 and shoot ML Raw but since gimbal work is important to you, and since AF is important for gimbal work, I think you may only have two options if you want to stay with 4K... The a6500 with it's touchscreen PDAF and IBIS. Or the 5D4 with its touchscreen DPAF and a Canon OIS lens.

I love the 5D2 and ML Raw... some people like that look more than the 5D3. Honestly, what more do you NEED than that?

Isn't that what they say, the best camera is the one you have with you, or the one you already own. What do you shoot with now? Actually, I'm unsure if I ever asked you, what kind of work do you do... corporate, music videos, documentaries, narratives?

@Emanuel you are the man of many links. Just buy a GH5 already, will ya? ?

Thanks for the reply. A couple questions, is the ProRes a clean HDMI recording of the ML Raw video? Do you use it for Proxy editing? Do you have any videos of the ProRes recordings on Vimeo or YouTube?

Okay, I can buy that. But where are you going to get 4K 60p Raw with Touch DPAF for $6000?