mercer

Yeah, that's all I can base it on. This camera is such a surprise, I wouldn't be surprised if the 2018 FW update is 10bit instead of 8bit. It may depend on what Panny and Sony do between now and then.

In Raw it does. With 4K or 1080p cLog you don't need 10bit. It was designed for 8bit.

Okay that makes sense. I never even thought it would require so many nodes. In FCPX, I would do 3-5 layers and other than the obvious bitrate advantage, I wasn't seeing anything better, color-wise... separation and tonality, than I was getting with the Panny's 200mbps 1080 with CineLikeD. I just watched your Homecoming trailer. That was shot with the BMCC, correct? How many of those 9+ nodes did you use LUTS with?

I assume you want it for the 5D3? I have the Canon 24-70mm f/4 for my 5D3. It has IS and with full frame you can still get some decent shallow depth with it. The IS is amazing on it. I bought it because of this video... According to the creator, that was shot entirely handheld, with only a little warped stabilizer used in a couple shots. I shot this with it wide open... So in full frame you can still get some shallow depth with it.

Ahem, where exactly did I use highlight clipping and highlight rolloff interchangeably? I just went back and reread my comments and cannot find it. And wait, I'm confused... In Panasonic's White Paper from 2016, they reference the Leeming LUT and invite people to learn how to ETTR from it?

C'mon even you, the resident Canon hater, has to be a little impressed with this camera... even just a wittle eensie weensie bit?

Yeah, I think all rumors point to it having the Varicam sensor. I assume it will be called the Varicam Mini or Micro. It should be a wicked camera but a S35mm cinema cam with 5-axis IBIS and Raw... even at 1080p would be pretty epic.

Man, that is some amazing lowlight information. The Ursa is an amazing camera. I get along better with ML Raw than BM. I could never make Pocket or Micro footage look good but ML Raw I find much easier to work with for my skill set... I've been trying to find a run and gun camera with IBIS for my "point and shoot" film but with the OIS on my 24-70mm, I really can't get much more run and gun than ML Raw. I have another option or two to test, but I think I am definitely going to try and put together an adapted script to shoot this summer... now I just need to decide how lo-fi I want to go, camera-wise.

Panasonic may just be creating a last minute firmware roadmap after Canon's bombshell. Panny's cine camera NEEDS 5-axis and Raw output IMO. You gotta love blind competition.

I had the Tokina 35mm f/2 which Soligor also rebranded. If the 35mm is any indication, then the 28mm Soligor should be a treat.

That seems like a good price for that lens, although I've never used one, I've always drooled over the Contax Zeiss 28mm f2 "The Hollywood." I assume they're similar in characteristics?

Yeah I think the MP4s biggest benefit is for dual recording proxy files. The xavcs should be 10bit, but they surprisingly gave so much I can't really complain. Of course this is easy for me to say because I will probably never own one. Too pricey for my wallet... even though the b model is an easier pill to swallow... but also because I only shoot run and gun guerilla style, so it's not really the best of choices.

I've had all three, the Nikon, Canon and Minolta. I paid less than $200 for each of them. They are all excellent. I only kept the Nikon. But at one point I kept the Minolta and sold the Nikon. And then I bought another Nikon but just recently sold the Minolta. Really only because I don't have a camera to use the Minolta with any more.

Did I mention I write horoscopes on the side.

You can have some good old fashioned 10/12 bit Raw. Now if they would only put these guts into a DSLR form factor.

Idk, Panny. I like your style but not the argument. With the C200 you are basically getting 3 tiers of camera in one. It's an all arounder. Say you're shooting a low budget wedding or small event... shoot MP4. Say you're shooting some corporate work... shoot xavcs. Say you're shooting a doc, music video, short film, feature film... shoot in Raw. This is a very versatile camera and the specs seemed to be very well though out. Holy shit, that's an awesome way to save some dough. I still, probably, won't be buying one, but I would only really need the monitor, so if that could save me a grand... or whatever... then that's cool.

And you're using Leeming LUT and his settings... right? But how else would you lower Gamma in camera without lowering exposure? It either has to be lowered with a lighting setup designed so the midtones hit a specific spot on the curve, or through your in camera exposure. Now unless you have an extensive lighting kit, you have to do that in camera. I guess you can argue that you may be losing some highlight information in that circumstance.

Original cLog was designed for 8bit color, so it's all good. Honestly I wouldn't even bother with the X-AVCS 4K anyway. You still need the cFast cards, so you may as well shoot Raw. If you need economy shoot MP4 for smaller projects and Raw for serious projects.

White papers are written by the people who designed the curve. They understand the best exposure methods to use so skin tones hit at the right place on the curve, so your highlights don't clip, etc... One of the reasons there was so much orange skin with the CineLikeD Profile, back in GH4/G7 days, was because everybody was exposing it to the left... of course they were also dropping contrast too. With most Log and Flat profiles you need to know where middle gray hits on the curve. Just exposing to the right doesn't give you that. Now if you're using Leeming LUT and his settings, you are probably good because Paul has done extensive research, but if you're not, it's best to nail your exposure in camera, or go slightly under and pull up. I don't have a Panny camera at the moment but I remember when I would ETTR, the footage was clipped on the RGB parade. Pulling it back didn't bring back that highlight information. But underexposing a 1/3 of a stop or hitting dead center and you could pull up the highs and still get some nice rolloff.

Obviously cameras are only so much of an investment, but if you've been thinking about selling your NX kit, now may be the time to do it while there is still interest. I would guess you are sitting on $3000 of NX kit... in a year that could only be worth $500 - $1000. That $3000 gets you nearly halfway to a C200.

Give me the chance, I could. Damn at $9000 this was a great camera, at $7500... shit. Maybe Canon can no longer fit any more of their heads up their asses. It almost seems to good to be true.

I can't imagine I'll ever be able to afford one, but I think I am definitely going to rent this bitch for a week or two. But then again, I predict a whole lot of used C100 iis hitting the used market.

It looks like there are already plans for the editing possibilities with a plug in planned for FCPX, amongst others, to cut Cinema Raw Light. I know it's unlikely but I'm hoping MLV files can be converted to CRL files for a direct edit in FCPX.

Man, I'm going to start a company... I wonder if Canon will let Mercer Media Group finance a C200... hmm.

What's really great about this camera is that they added so many specs that they can comfortably raise their specs downline without any Canon fears of eating into their cinema line. This explains the addition of cLog to the Mark IV.