mercer

Well, there are a lot more costs in manufacturing than just the price of parts. And there are plenty of modern super 35mm cine lenses that will mount to EF: • Zeiss Compact Primes • Schneider Cine Xenar III • Cooke Mini S4 • Rokinon Cine • Tokina Cinema The EVA1 seems to be more of a B-Cam to a Varicam LT than an A-Cam to a GH5. I don't agree with that marketing/production decision but Panasonic seems to have designed it that way. And not too many cinematographers are putting old Schneider Super 35mm glass on a Varicam LT. I'm sure there are plenty of cinematographers that would love to mount a set of Tevidon lenses to the EVA1, but there are more that are going to use a Zeiss Compact Prime to match the Master Primes on their LT, Unfortunately, Micro 4/3 is just not a professional cinema camera mount. And the EF mount offers enough possibilities for professional cinema lenses and for lower cost professional still lenses. But as far as adapting goes, there are plenty of older lenses that will adapt to EF: For some PL mount lenses... https://www.bhphotovideo.com/c/product/995147-REG/fotodiox_ar_pl_eos_p_pro_canon_eos_adapter.html For some Arri B mount lenses... https://www.rafcamera.com/adapter-arri-b-to-canon-eos Hell, you can even adapt some old Konvas Lomo glass... http://m.ebay.com/itm/OCT19-OST-19-OCT-19-KONVAS-LOMO-to-Canon-EOS-EF-mount-C7-adapter-/260875544582 So you're right, there are some lenses that won't work but the EVA1 isn't designed for those lenses because not a lot pro cinematographers would use old c-mounts or Veydras or Speedboosters. I think you're more interested in the possibilities of a future AF200 and not an EVA1. I am too. Honestly, I think Panasonic offered too much with the GH5 and they eliminated any room for their low budget cinema camera market. The EVA1 appears to have the same codec as the GH5 with the same firmware update path. Since the 400mbps 10bit is scheduled as a firmware update for the EVA1... where does that leave the supposed summer GH5 firmware update?

Yeah, I am blown away by that shot. This is the perfect example for the anti 4K argument. Obviously the DP and colorist need to be commended here, but I don't think this would be possible with a consumer 4K camera. The GH5 may get you close, but I doubt the highlights would look as good.

Passive aggressive much? I both love and hate this discussion because I have seen first hand that in the end it doesn't matter. I think a lot of people want to justify their purchases and decisions and that leads to heated discussions on a gear related forum. So if someone wants 4K, shoot in 4K. If someone wants 1080p, shoot in 1080p. Hell, your 1080p ProRes footage is way better than the sooc 4K footage from the same camera... so there are obviously other factors at play instead of 4K vs 1080p. And no matter what a filmmaker does with consumer 4K, straight out of camera, I think they would be hard pressed to get an image as cinematic and beautiful as the screenshot @enny shared. That shot looks epic.

It's hard to tell from the short footage but it looked okay. If I owned a 70D I would definitely be taking advantage of Raw and DPAF, even at 720p, but I think there are builds of ML that shoot in 10 or 12 bit that will get you closer to 1080p... probably 2:35 ratio. I wouldn't consider Raw a condemnation but if you don't want to shoot in it, there are plenty of other options. Of course Raw or ProRes will probably give you the most latitude in post. With the cameras that shoot it, at a lower price point, you have the BMPCC or BMMCC for 1080p Raw or ProRes, or the 5D3 for 1080p ML Raw. Or if you're looking for a more user friendly camera, you could always get the GH5. If you don't want to spend that kind of money but still want to be able to grade footage in post within a modest h.264 codec, then the Panasonic G85 will give you a little leeway with the CineLikeD profile or if you want good 1080p, the Nikon D5500 or D7200 has a really nice Flat Profile that handles grading fairly well. Hope that helps.

I think this looks really nice. Good composition and use of 60p. Loved the drone footage because it was so controlled. Really nice work. If I were you, with the tools you have, I would consider where I want to go with video... even as a hobby? Perhaps try telling a story for your next video... narrative, documentary, even a music video of music you like. Keep it short but with a similar mood to this video and you will definitely have some good work.

Dave has done some of the nicest pro work I've seen on this site and if you go back and watch his Vimeo history, even his earlier work was a step ahead, so I'm pretty sure he has heard of the GH5, EVA, Ursa, etc... so with the question at hand, which camera makes more sense... the 1DXii or the C200? Now, I wish I could be more helpful as I haven't used either, but being a Canon shooter I have followed both cameras and I think it really comes down to two questions as both seem like excellent tools. 1. With the C200 are you okay with the media space needed, with both recording and storage to shoot and edit Raw? 2. Do you prefer the DSLR form factor over the cinema camera form factor? I, personally, wouldn't spend the money on a 1DXii when the C200 is lingering around for just a little more and shooting 4K Raw up to 60p. But I don't shoot any stills and love Raw. But with that comes extra costs and a bigger footprint. I guess it depends on the type of work you plan on using it for? And I guess the 1DXii is coming down in price a little, so you may catch a steal on the used market. Hmm... tough call. If only Canon would introduce a 1DC Mark ii.

Honestly, when I wrote that I was really searching for a second cam with IBIS and one to use my c-mounts with, so a Panasonic cam without either of those options made no sense to me. Since then I've been using Canon lenses with OIS and frankly, the two I have, their IS works +/- as well as the Panasonic IBIS in the GX85. And I must say I really enjoy not using huge adapters when using my Nikkors or old Nikon mount Tokinas. However, I still think Panasonic missed a specific market with the EVA... the 3-5000 dollar market that would cherish the m4/3 mount and IBIS on a small cine box of a camera. Where is the AF200? And it would probably be a great idea if they offered the EVA with a micro 4/3 mount as well as a special order. The problem is that at that price point, Panasonic wouldn't be getting anything out of doing it except extra engineering and manufacturing costs. Most people buying at that price range won't be using Panasonic lenses anyway, so why incur those costs for a minority of shooters that want to use Minolta, Konica, or FD lenses?

Do you have another feature in the works?

I know this is a frowned upon phrase around here... but... does it have that mojo like the 1DC has?

Aren't you from Canada? ?

That's pretty nice too. I've noticed you have started using some more muted colors with your more recent videos whereas your Fuji videos are very vibrant. I would love to see what your Fuji work would look like with your newer color work. That is always a concern with monopods but you learn to keep a foot on the feet and not leave it unattended. But then again I see the appeal with IBIS. This whole process is a never ending struggle with wants and needs, really. And in the end it doesn't matter... just grab a camera and shoot with it. Tell engaging and/or entertaining stories. That is all.

Nice, I had a cheap one and it not only caused a blue spot, but also a blue veiling flare wide open. And I am a lazy operator, I only shoot wide open with a fader ND.

Yeah IBIS is pretty nice, especially with old, manual lenses, but after getting some Canon OIS glass, I don't really miss it. The IS Canon lenses are pretty damn steady. And when I am using a manual lens, a monopod with feet is usually enough. But yeah I get the appeal of IBIS.

I like it Jon. I think your G85 needs a break and that X-T2 needs a workout.

I also have that lens and love it. It mixes well with the newer AT-X zooms as well. If you can find a good price on one, the 24-40mm f2.8 is one of my favorites. Watch with that Pixco outdoors though... you may get the blue blob flare.

That's a good idea. I like doing a twist on that logo. I guess a separate thread should be made for it, since it's not limited to any specific cameras?

No I don't believe so, but I haven't used it in years. It rotates 360 so if my memory serves me, as long as you hold the button down, it will pan. I had a cheap one... well I found it on clearance, so other variants may have more options.

Man, you're starting to get some color mojo.., I am digging the muted colors. The first few seconds I thought were ProRes but when you started panning, I wasn't so sure. Either way, the color is looking pretty damn good.

Yeah the motorized module looks nice. For panning, look for a mount for security cameras I bought one at WalMart years ago and it work pretty well. I think it even came with a remote control.

OT: is that in camera or ProRes?

Yeah I love that 50mm f2 Nikkor. That's slick as shit. @kidzrevil

That sounds good to me. I like Super 8 Bit And the gorilla pod is a great idea as well. I heard about people doing that years ago and it seems perfect. Thanks. Which gorilla pod do you have? I saw the video SLR model, and it looks promising.

No I'm pretty sure that lens, due to the rear element's design (maybe the macro function) doesn't work with any speedbooster. Btw, I read that you can use a "slim md to ef adapter" with an ef speedbooster and get infinity focus. I still think that lens won't work but other MD lenses might. The Minolta MD 24-35mm and 24-50mm are a set of primes in a zoom. I like the 24-35mm better because it is tiny and faster. I think it was a really old article on Lens Bubbles blog. I tend to doubt it but the guy did have photographic proof.

Also remember to use a strap, keep it taut with your elbows to your side and turn your waist not your arms. It's a good ab workout too.

I have that lens and it's awesome. But I can't use it on my 5D3 and you can't use it on a speedbooster... so unless I go Sony FF, it kind of lies in limbo land. I love Minolta lenses but going forward, I have decided that almost any lens I buy needs to adapt to every camera I own. This also keeps me from buying dozens of new lenses to try. Because... seriously I would.