mercer

Thanks, I watched a comparison video on Vimeo and it seemed the GH5 just beats the EM1mk2 with DR, but the Olympus 5-axis easily beats the GH5. I briefly had the em5mk2 and I found the 5-axis was a lot better than the IBIS on the GX85. With a half stop better, I assume the EM1mk2 is insane. I have seen some videos where it almost can replace a steadicam for short movements, have you found any truth to that with your practical experience? But then again... 10bit 4K in the GH5. If the Olympus were $500 cheaper, it would be a no brainer... maybe the em10mk3 will be a suitable in betweener. Oh yeah, how's the 1080p on the EM1 II?

@BTM_Pix that is a pretty cool test. So just to be clear, you found footage online from posh camera, or you have said posh camera? If it's the former, couldn't possible parameters in the record/upload/process/delivery chain cloud your test? If it's the latter, why are you mucking about with a GX85? I assume the bottom grab is from the GX85? Even still it's pretty darn close. Can you turn my iPhone into an Alexa Mini?

Looks nice. Miss your camera updates... Do you have an a6300 and a G7 now? Btw, was that CineLikeD?

I'll probably get torched by half of the comments for saying this but I think the Schneider beats the Olympus wide open in sheer character and texture. Sure the Olympus is sharper but at 10x the price, it should be. But the real problem is the rendering, as you said. With the Olympus, there is a plastic sheen to the sharpness of the image, where as with the Schneider, there is an organic softness to the image... yet sharp enough. By f/2... how much sharper would you really need. The shot of your "daft dog" is quite beautiful. And possibly one of the best samples I have seen from the GH5. Was that a screen grab or a photo? Thanks for this, the GH5 may actually be back on my radar. I've been shooting at some pretty epic locations for my 5D3 film and I was thinking about bringing a 4K camera along for some stock video footage... I look forward to see how the summer FW update does. Any word on when that's expected? Also e-m1 Mark ii vs. GH5... any chance of an in depth comparison review?

Yeah, this is solid advice. @GlamourDave ML Raw aside, which I love, but I understand it isn't for everybody, the 80D/XC10 combo could be perfect. Throw in an H1/H2n, a lav or a Rode Video Micro and a video tripod head and you will have a solid set up.

Ok, well in that case, since the XF100 is a primary goal for you, an XC10 or XC15 could be perfect for you. It has better specs than the XF100 (4K) and still meets broadcast specs with its 4:22 codec. Plus with your budget and maybe selling off a couple of your redundant lenses, you can keep your 7D and still have money for a video head, simple audio equipment and maybe even an inexpensive slider. Then with your 7D, you can test Magic Lantern Raw since it's free. Plus the XC10/15 has really good IBIS, so you can go handheld with most of your work.

Yeah, is there any 5-axis sensor vignette? Really nice looking images though.

Yeah I am only having issues with chroma noise. Btw, do you like ACR better than Resolve? I use FCPX and only use Resolve as an intermediary to get to ProRes... but if I remember correctly, you can't export as ProRes in Adobe any longer, right?

Obviously, I have to stop down to get the sun stars, so I guess I should Iight my actor as well and bring down the mids in post to create the silhouette. Thanks Squig, never had to do silhouettes like this.

Am still working on my film and still loving the results. Here's a screengrab from my shoot yesterday. I just threw a LUT on there, to get it into Rec709. I'm sure the final look will be different and more refined... However I do have a question for some of the ML Raw veterans out there... I tend to shoot a lot of silhouettes, and I am finding it tough exposing for them. The Raw histogram is telling me it is overexposed when the sun is in the shot, so when I close the Iris to get me some sun stars, even though it is still showing as over exposed, I am getting a crap ton of noise. I know @squig ends up with some dark footage, any ideas? Also any new news in 3K/4K Raw?

I don't know, I just don't think we as filmmakers should stop making films because 1 out of 10 people may get offended by it... even if 9 out of 10 people get offended. When produce and cutlery becomes offensive, we have problems as creators. Now somebody could be offended by my video, or Stab's, if it's a bad idea, or poorly done, but because of the subject matter? Who cares?

I guess it would be great at 60p for slow motion zooms.

Plus he specifically stated he wants to keep his 7D and existing lenses... So he should probably just sell them and buy an Alexa. ? I think the more important question should be... what are you going to be shooting? The 7D can have ML Raw, so he can have some decent footage, if he keeps his current set up. If he wants to stay with a DSLR for photo and video work... a tripod head and maybe an upgrade to the 7D2 might be a good idea for DPAF and the higher bitrate 1080p. Hell, I know they're frowned upon on this site but if I was just starting out, I would seriously consider an 80D, especially with his lens collection. He can still sell his 7D without losing any money by picking up the 80D and then still have that extra money to buy support gear, audio and lighting.

If the 6D2 rumor is true, then they might as well skip 4K altogether and go with 6K for the rumored FF mirrorless. LOL. I think the fact remains, no matter how often it needs to be said, Canon remains number one without catering to a hobbyist/enthusiast video minority... so why dump money into it? If it was affecting their bottom line, they would put the money into it. They exist to make money for their shareholders. Yada, yada, yada.

Also, I'm unsure why a 5D4 would be a headache as a B-Cam? If Fury Road can use 5D2s as B-cams and C-Cams to an Alexa, I'm pretty sure a 5D4 would be a suitable B-Cam to the C200. Or even a 5D3 with ML Raw.

Idk, I would think that the people the C200 is marketed for, most would not use a B-Cam... or the C200B is the B-Cam... maybe? Also, I am under the impression, correct me if I'm wrong, that pixel density auto focus cannot equal dual pixel auto focus and I believe Canon has that technology and any variant of it pretty locked up with patents. While the other manufacturers were dumping R&D into 4K, Canon chose to throw theirs at DPAF.

It's doubtful that CineLikeD was in their software when the GH3 was released but maybe it was snuck in during a FW update without anyone knowing. Peaking would be my first question with the GH3 and that would be pretty cool since that camera sells so cheap on the used market now.

I'm unsure was that supposed to be "insensitive" to eggplants or knives? Are we not supposed to make films that question and bring attention to things in the world? Here's a video I shot on the XC10 last summer for a contest. It's probably equally as offensive.

It seems like the sweet spot is a third under to a third over, depending on the circumstances. If you're filming in the shadows shoot a third over. If you're shooting in bright light then a third under. In mixed light and shadows, dead center is probably the way to go with cameras that have 10 or less stops of DR. I appreciate what the Leeming LUT is attempting, but you can only push and pull these cameras so much and a half to a stop more latitude isn't turning it into an Alexa. But for what it is, you guys are getting great images and that is all anybody can ask.

There may be some differing of opinion here, but I always liked these settings from Noam Kroll... great blog too if you're looking for a good read. http://noamkroll.com/the-best-gh4-settings-for-video-why-you-shouldnt-be-tweaking-things-too-much/

I really don't want to beat a dead horse, but what is your on camera monitor calling your ETTR shot? Because to me, that isn't ETTR and that looks like +/- 0. At 90% zebras, what f-stop did they disappear at? I don't think you can truly ETTR by dropping a full stop. Those zebras could have disappeared at any point during that stop drop. Plus, you ETTR your subject, so technically the zebras should have been pulled back from your face, not your shirt. Which is another problem with ETTR on these 8bit cameras, you end up with a lot more work in post fixing your exposure. Not a big deal for small videos, but another point any beginners reading should be aware of.

That SLR Magic looks like a great option. I think there are special deals for them and a lens too. Great deal if someone is looking for a new lens and a variable nd.

I would be lost without a variable ND. It is true they degrade the image more than single NDs but there are some high quality ones where I think the benefits outweigh the negatives. I do recommend getting one with hard stops, so you avoid the dreaded X pattern that can occur if you add too much. But, with your native lenses and desire to move around, you may want to test Shutter Priority mode. I recently used it with the FZ2500 and the change in exposure was fairly gradual. You can also use zebras and exposure compensation so you can stay within your ETTR preferences. As I mentioned before, you can add a variable ND to your lens, to trick a more open aperture and use auto ISO with a limiter. Six months ago I would have scoffed at the idea of shooting in Shutter Priority but as I was, I think you may be pleasantly surprised. And I assume if the exposure change is too jarring, you could isolate it in post and soften the change. Or even cut around it. It's like walking with IS... show that angle until it doesn't work, then cut to a different angle or shot. As long as you get coverage, you'll always have another angle to cut to... or maybe a jump in time. There are workarounds for everything. We aren't Hollywood directors with focus pullers and tape measures, sometimes we just have make do with what we have and figure out a way to work around it.

Idk, I think it probably works like AWB. If there is a need for exposure change, then the shutter speed may change, or maybe the aperture will, or the ISO. It would be interesting to know which changes when, but I don't know if many cameras tell you that. There are ways to trick the camera like an ISO limit. Or with compacts that have internal NDs, when in Shutter Priority mode, I would limit the ISO, enable the highest strength of ND to attempt to force the aperture to open all the way for shallow depth of field. This way if I moved the camera, I could get a gradual exposure shift while still keeping within the +/- exposure parameters I set.

I actually don't disagree with you, Jon. If I ever shoot in any auto mode, I always shoot in Shutter Priority, but the only time I ever do that is with compacts or bridge cameras. But Jase and kidz have been using shutter speed to aid their exposure, instead of NDs, for years and it works for them, and I enjoy their videos... so who am I to say. Unless you're shootings narratives, it probably doesn't really matter anyway. But then again, I only shoot wide open and use a variable ND to expose, so what hell do I know.