mercer

Btw, I don't mean to infer that you are not a naturally gifted colorist, I am merely saying that it is hard to judge the organic nature of any camera by the best videos produced with it.

Also a lot of these guys are just naturally gifted colorists. AJ Molle has been making organic looking videos since the GH3 and LX3 and before. I struggle with color. I've watched tutorials and stare at the scopes and my stuff still looks meh. Those guys probably glance at the scopes once and then just adjust to eye. I wish I had that talent. This is another prime example. I think some of my better video was shot with the D5500. This guy posted this on the site a while ago... he shot it with the D5300. As good as I think my D5500 footage is, it doesn't even come close to the organic, filmic look captured and colored in this video...

You probably should have bought a Digital Bolex then. Lol. But seriously I agree with you. I am going through a similar thought process. I have my 5D3 for any serious work but I'd like a run and gun camera for fun and spontaneous projects. I'm testing out an E-M5 Mark ii this week. If I get along with her, I may save up for an E-M1 Mark ii. It's the only 4K image I have seen lately that even remotely feels organic. But I'll probably change my mind next week. Lol. I posted this video on another thread, but I cannot get over how nice this video looks... If I were a better colorist, the original a7s has some mojo as well...

I just bought a 5D3 and I also have an urge to make a lo-fi feature at some point. Something I can just get up and go with. Movies like yours make me want to do that even more. I may have to brush off the D5500 or with my Canon lenses, maybe an 80D would be a better fit... But then again, I already have the 5D3, so I guess why limit myself. Your Ursa work must be epic. Are you working on another feature?

Yeah that is really lame. But that's how rich people stay rich... they use other people's money. If you want to feel better, go over to the shooting section to see a feature film shot on a t2i.

Damn @Ehetyz I just watched the opening scene and credits... it looks awesome!!! Good pacing. Clean shadows. Nice camera work and composition. Obviously great gunshot effects. These are the kind of films that excite and inspire me... good filmmakers with modest means just saying fuck it, I want to make a movie. I will definitely be watching the rest of this and probably giving notes or comments as I go along... So far, so good. My only note and it's a dumb one, is that I would have liked to have seen a shot of the main character turning on the radio... it took me a split second to realize that the voice was coming from the radio. Obviously it isn't something worth reshooting but just a note. Anyway, awesome job and I look forward to watching the rest of it. If you don't mind me asking, what are you shooting with now?

Thanks, I've always been curious about them but since I usually use vintage lenses, wide open, it was never too major of a concern.

Whatever you did... it worked.

Yeah very nice. Do you add some yellow to your in camera WB, or is it all post?

Thanks, please report back if you do the tests. I have read that the Cinema 4K is the real winner on the e-m1 Mark II but the e-m5 Mark ii had nice 1080p at 77mbps, so I can only assume at 202mbps the e-m1 2 is a lot better. I have also read that the IBIS is mindblowingly good, with some stating when used with one of the two OIS lenses, it could replace a gimbal for short shots. I have my 5D3, so I am in no rush to go out and buy anything, but I would love to have a near pocketable cam that can go anywhere without the need for any support. Right now it looks like the GX85 or the G85 is the biggest bang for the buck but I don't mind spending more to get a steadier shot and better color and I'd rather shoot in high bitrate 1080p than low bitrate 4K... if I can. BTW, I've never used any low con filters... can they be used with variable NDs?

That's a good point. I also think Fritz was hinting at this, but who is this camera geared towards? Canon gets blasted for their lack of tech but their cameras are geared toward very specific shooters. The C100 i & ii are geared towards the low to mid budget event videographer and documentary filmmaker. The FS5 is geared to the mid level videographer and filmmaker, so of course they would have better specs. Who exactly is this cineX camera designed for? I would assume it's for mid level professionals. If it is touted as a Varicam Mini, then it has a narrative lineage, so the specs need to be at a certain level. And IMO 10bit 4K 60p isn't enough to justify a $6500 price tag. Now if it has 5-axis IBIS with either internal or external Raw... even at 10bit 2K up to 72fps and this camera is a winner. Otherwise you may as well just buy a GH5 or an LS300.

Yeah BH has it shipping on the 2nd.

How's the 1080p? I briefly had the FZ2500 and although I enjoyed the quality of the 200mbps All-I 1080p, I just didn't love messing with Panasonic color. I have seen a lot of 4K footage from the em1mk2 and it's so organic, but I haven't seen much in 1080p.

If you hate using the a6300, what makes you think you'll enjoy the a7s? The D7500 will be released this week, may be the smaller, lighter body with a little cropped 4K will be a better fit for you until the D760 gets released.

I almost bought a GH5 a month ago... this video was one of the reasons I didn't...

I was thinking you might not be a fan of the GH5. Did you get a chance to mess around with the 3K ML Raw?

That's great news, Fritz. I wish you luck. I wouldn't count out the C200 as an option for you either. From the pictures it looks like it may be a beast of a camera. The 4K from the XC10 is the nicest 4K I have ever seen on a sub $2000 camera, so with a S35mm sensor, it should be gorgeous.

Again yes, my discussion got sidetracked. And yes, obviously I am no company's target audience. Now I assume Panasonic will not be including Raw export in their cameras and I think that's a big mistake. Raw export and 5-axis IBIS will trump Canon's DPAF, IMO. But to be fair, as a no budget filmmaker, I would never use a cinema camera anyway because it draws too much attention. But I still think at $6500, the Panny should export Raw... if not what do they have that you can't get from Sony or Canon for less money?

Yeah but the picture is literally the best indicator here since that is the camera under that shroud. It clearly does not show a Micro 4/3 mount, maybe it has swappable mounts, but it looks like the EF lens is flush to camera mount... so it is most likely an EF lens. And unless they are still using a version 1 model, the EF mount is probably pretty accurate. Now it doesn't necessarily make sense for them to do that, but if you had to be stuck with native glass, I'd rather have the EF than Micro 4/3, but I'd really, really would like to mount c-mounts and Canon FDs and Minoltas, but the productions these will be used for wouldn't probably do such a thing, so EF it is.

Hey Jon, not to be contrary, but I've always followed Noam Kroll's suggestions for CineLikeD... Con 0, Sharp -5, NR -5, Sat -5. Now he actually prefers CineLikeV in most instances, especially outdoors in bright sun and in CineLikeV he flips Contrast and Saturation, so Con -5, Sharp -5, NR -5, Sat 0. never really tried CineLikeV because I was always pleased with his recommended settings for CineLikeD. I also always underexposed CineLikeD by a 1/3 of a stop to dead center. I think @kidzrevil said he read the Panasonic white papers and that's what they suggest for the curve as well. If you use zebras, I would think 85-90% would probably be a better setting. I am not a fan of ETTR for 8bit footage. Too much info will be blown and the contrast curve will be out of whack. Of course if it works for you, then who am I to say.

So, I hope someone with some coding skills takes a look at BTM's finds to see if something more can be done. The GX85 or G85 would be epic with 200mbps 1080p.

Man, I would love to be able to get the high bitrate all-i 1080p on a 5-axis camera. I recently tested the FZ2500 again and I just love that 200mbps and CineLikeD, but I'd love it better with interchangeable lenses, on a bigger sensor, and 5-Axis IBIS... and the big AND... less than a thousand dollars.

Fair enough. How many more stops of DR does VLog give compared to Like 709?

Why not just use Like 709 Profile?

Can't you just use a preset WB, film the grey card at the beginning of your take and then use the picker tool in Color Finale Pro to give you middle grey... or 18% grey... whichever it is?