mercer

Yeah... because I'm the rude one in this scenario...

I see both sides. I think you should have a festival strategy. Not all films are right for all festivals, so I wouldn't submit both to every one you can find, or afford. But don't limit yourself either. The problem with Vimeo only is that you will need to market your films. Staff picks don't happen by accident and unless you are getting thousands of views, what good is a Vimeo only strategy? I also think having two completed films can show that you are prolific, with multiple ideas and someone passionate about their work. But in the end I think you need to sit down and think what you're trying to accomplish with your films? Are you trying to get a ton of views? Are you trying to get funding for a bigger film? Or do you just want your work viewed and critiqued by as many people as possible... or the right people? The problem with all of this, is there is no right or wrong answer and you can only market yourself so much before a little luck comes into play. In the end, it all comes down to the work and finding the right audience for it. I have heard that some people will reach out to movie review/critic sites... there are tons around for no budget/micro budget filmmaking. And a lot of these sites offer a paid review option. If your films fall within a niche you could get a lot of attention from the specific fans that like your types of films. Idk, interesting topic, good luck and keep us posted with your films.

I think he was being a grammar nazi, rather than an auto shutter nazi

Yeah that was the D5500 with the Nikkor ai-s 35mm f2. I just bought the 35mm 1.4 ai-s. So I'll probably sell of the f2. The GX85 is a fun little camera, but be warned... it is pretty small and the buttons are tiny. If that matters to you, the G85 may be better. But the 5-axis is a blast. It's hard to go back to using tripods after having it.

Only had a minute at work to glance at this and I'm glad I did. It reminded me of how Milton Bradley commercials used to look in the 80s.... instant nostalgia... nice job.

Thanks for posting this. It's interesting to see exactly how he came to those conclusions. When you have controlled lighting, definitely worth thinking about. But that is just one controlled test, would have liked to see his results by performing the same test outside with natural light. As is, there seems no reason to doubt his controlled test using a light meter.

Thanks, I'll give it a try on raw2cdng, I used it with a different app.

They have an A mount 28mm f/2 as well.

Looks so cool! What did you use to get rid of the pink dots? I've tried pink dot remover, but it didn't work. The only thing I could get to work was chroma smoothing but it softened the image way too much.

Another option to add would be the Fuji XT20. 4K and probably a good stills camera in one. Great OOC colors to speed up your post workflow. Would probably work well with the Zhyiun Crane. I know a lot of Nikon stills shooter end up with a Fuji eventually, so that could be a perfect fit until the D750 or D810 gets updated.

Yeah unless you need the lowlight capabilities of the a7s, it kind of seems like a lateral move. Now I have never done real estate work, but I assume that full frame aesthetic is important in that field, or just something you personally want? If you were doing video only, I guess the decision would be a lot easier, but needing a FF stills camera as well, kind of muddies up your options. If you were okay with staying with 1080p, which I assume you are, I would probably keep the Zhyiun Crane and get an a5100 instead. You will have touchscreen PDAF that should work great with the crane. Or if you want the 4K, I would get the a6500 instead of keeping the a6300... you will have touchscreen PDAF... 5-axis IBIS with your Nikon lenses (if you decide to keep any) and they all will work great with the Crane as well. As I said before another option for 1080p is the RX10, a great Zeiss lens with the same codec as the a7s. Or the RX10ii if you want slow motion 1080p and 4K. I think one of these with either an a6500 or a5100 could be a great two camera set up for real estate, plus they're so inexpensive you can keep your D750 for stills. But I still think you should probably just keep your D750 and use that until the 4K D810 replacement is announced later this year and then you have a more logical 4K upgrade FF path. Even if there is a crop, it will probably be no more than S35mm in 4K, which still isn't bad. Also, I would think the softer image may help with real estate... just how brides look beautiful with Canon close ups... the D750 will hide a lot of flaws that are inherent in real estate.

Yup +10 for this thread. A few months ago, after I sold my GX85 and before I bought my 5D3, I was unsure what route to go, so I was just shooting with my humble D5500 and I found it liberating to try silly shots and experiment. I missed the GX85's 5-axis so much, I used my Benro monopod, the one with the swivel ball feet, and pressed it against my shoulder as a make shift shoulder rig. With that freedom, the low hanging sun of mid winter, 60p and a fast 35mm lens, I started walking around and shooting. This what I came up with... There was something interesting within the way the bokeh and the branches and the sunlight/shadows worked within the confines of D5500 slow motion... obviously it's just a little slow motion, who cares, but I found it pretty fun to push one of the cheapest cameras I have ever bought and I may be the only one, but I like what came from it. Disclaimer: it is long and possibly boring... so proceed with caution... ?

Yeah that Tokina seems like a special lens. I think Geoff CB has an old video with his D810 and the Tokina/Angenieux. I have a search saved on eBay but whenever a good one pops up, I'm short on cash. It will be mine eventually. Report back how you like yours.

OT: Panny, nice find. This guy's work is inspiring. Love his old GH3 video...

Interesting test... I believe the last one is from the cheapest camera, but I am unsure between the first two. On one hand the first one seems to have more DR but the second one seems to handle the contrast curve better. So, I will say... the first one is... the mid priced and the second one is the highest priced. I have a feeling I am wrong on every one. Lol. Full disclosure: I am looking at these on my iPhone. Funny thing is that even though I think the 3 is from the cheapest camera (I think I'm wrong) I think I might like it the best. I tend to like more contrasty photos and I like how you can just see into the shadows of the background. Damn, now I'm really confused.

That was cool of Ewan McGregor to sit down for you. Lol. Awesome idea. This season is great. I think I liked the look of last season a little more, but anything different than the normal Hollywood TV look is much appreciated!!!

I hope the XF-AVC is 10bit. As of now that info is TBA. I assume it will be, or should be, but knowing Canon I wouldn't bet on it.

But your argument is akin to me saying I want to buy a Ford Fiesta but can't because it doesn't go 150mph. Basically, I would be saying I was never really going to buy a Ford Fiesta because it doesn't meet my needs, or it's impractical for what I am looking for in a car. It's not a fair criticism of the car, it's an unrealistic standard I am trying to hold the car to... hence it's a moot, straw man argument. Either way, I think we can both agree it is an interesting camera, especially for Canon to have produced. Btw, the XLRs on the C200 are on the body and not the handle like the C100 and it is my understanding, the DPAF will work via wi-fi using an iPhone or iPad... unsure how much of a lag there is, but I believe users have had good results using it with the 1DX2. And are we sure that Sandisk Extreme Pro cards will be usable with the 400mbps Dual ISO? Didn't Panasonic just release expensive, high data rate, SD cards? I assume for this purpose? Even with the GH5, there has been issues with cards and compatibility, and I must assume the EVA will as well. Sure it probably won't be as much an issue as a C200, but it is something to be curious about. On another note, have you used the Contax Zeiss 28-70mm f3.5-4.5? I am interested in this lens for my 5D3.

Again, my point was and still is that since no user of the C200 would ever purchase that many cards makes that argument a straw man argument and moot. They would either offload or not use CRL. But also, the SD cards needed for the 400mbps codec, in the GH5 and EVA won't be off the shelf SD cards you get at your local Walmart. Media has always been expensive unless you're shooting on a t2i or other consumer grade camera. I would buy the C200B first, use old Nikkor lenses, or my EF lenses with an iPad and then eventually build upon that... but even still it isn't for no budget filmmakers like myself. But for micro filmmakers that may hire a Red, it's a great option. Yes, those halogens were an old example from our Super 8/Hi-8 days, there are way too many small LED panels to mess with halogen work lights any more. Again, this camera isn't for me anyway, because I couldn't risk the attention such a set up would get... and I can't afford one... But if I can put together a small budget, I may rent one next summer and make a Dollar Baby short.

I'm sorry but providing anecdotal evidence doesn't negate the argument I am making. Nor did what I say really contradict any concerns you had. I have already agreed with you that in a lot of circumstances Cinema Raw Lite isn't practical, nor ideal. And my lack of "professional experience" doesn't negate the possibilities this camera can afford many a filmmakers. I assume Canon did their market research and decided there was a reason for them to include this format, even if it isn't ideal for all scenarios. I think for the right filmmakers this is a great camera and quite possibly the biggest release for the low budget indie filmmaker in the past couple of years. Sure there are pitfalls and compromises, but coming from a backyard filmmaking world you learn to work around those issues and come up with solutions. If that means recycling cards every hour, then that's what I do... hell it can't be worse than re-gelling halogen work lights after they melt every 10 minutes. Or finding the right branch to hang a china ball from and power it. Or being at the beach right at sunset only to find a couple with a selfie stick making kissie faces into their iPhones while they're stealing your light. So yeah, for corporate, paid jobs, the Cinema Raw Lite is not ideal, but in a lot of scenarios, it's not impossible. I am sure professionals would know the difference when to use it or not. It's just another tool in the box and the fact that Canon is even offering such a thing, at such a price point, is exciting... to me at least. So if my agreeing with you was reductive and misleading, then I apologize.

Obviously a documentary with this type of scenario would not be a good fit for the Cinema Raw Lite... shoot in XF-AVC. Never in a million years would I ever even consider shooting a micro budget comedy and allow the actors to improv for 5-10 minutes... that is a sure fire recipe for an unfunny movie. Again commercials and corporate work one should use the MP4 or XF-AVC. Again, with a few 256GB cards, at 30 minutes for each card, this is easily obtainable. I assume between takes you needed to reset? By the time you get to the third card, your first one will be fresh and ready. Again probably not a perfect scenario, but definitely not impossible. But yes, the Cinema Raw Lite is not perfect for lots of scenarios. I am excited about it and as a writer/director, I just look at it how people used to shoot indie films on 16mm... 3:1 shot ratio... at best. So, for low rent stuff... shoot on MP4. For indie films (short and long form), music videos, and some docs shoot Cinema Raw Lite, and for higher end clients, shoot XF-AVC. It's a really good three tiered camera... or it will be when the FW update is released.

I know you, specifically, were just joking, but this narrative has been seriously floating around other sites as an actual argument against the C200. Don't get me wrong as much as I love Raw, for media/storage purposes, I would have love to have seen Canon implement ProResHQ with a similar 10/12bit option. Or a 1080p Cinema Raw Lite. Honestly though, I think I'm more mesmerized by the fact that Canon, of all manufacturers, even made such a camera. If they'd only put some of this thinking into a 5DCinema camera, then I might actually put the money together for one. As of now, I'll be happy with my MLRaw.

Nice! What profile did you use?

This argument that a day's worth of footage would equate to the cards costing more than the camera is a complete straw man argument. Who on this site would ever purchase that many cards, or need to? A couple 256gb cards or a few 128gb cards would be more than enough to get you through the day if you offload while you cycle through cards. People with ML Raw have been doing this for years. It's hardly an issue.

The bit depth is TBA according to Canon.