mercer

Well that's just silly. Who cares what some anonymous person on an internet thinks?

I think you're all wrong. Haha. If you are a beginner and know nothing about video, and don't NEED 4K, get a Canon or a Nikon. You will get better color out the gate, and in the end you will be happier about it. If you really, really need 4K, and don't have a lot of money for lenses, then get the LX100.

Yeah well Nikon has done something really special with that Flat Profile. I noticed a couple weeks ago that LUTS designed for Arri LogC work great with it... dialed back of course. So I wonder if it has a similar curve. Either way, like you said, Nikon was the first camera I owned where I felt the camera, even with all its quirks, just got out of the way... shooting and color wise. I am loving my ML Raw, but a couple of my upcoming shorts just do not require that Raw image and workflow. Between my D5500 and a bunch of lenses, the D7500 will feel like a trade. Btw, did you mean it is harder to nail a look with the Micro because you have more choices or due to color issues with the Micro Raw footage?

Okay, that's a nice test. What are your first impressions of Mark IV vs GH5?

Thanks Marty, I appreciate it. Yeah that shot turned out okay, even with the JPEG compression from the screengrab. The other interior shot didn't fare as well as a jpeg. This has all been handheld, but I usually use a monopod. I have a Sirui and a Benro. Both are great. The Sirui is a great concept, but it hasn't really held up to the test of time. The Benro is more solidly built but it isn't as stable on its smaller feet... there's always concessions with inexpensive gear. No footage for now, not until the short is finished. But I will leave you with a few final screengrabs from part one of my shoot. Now these are all just color tests but they're close to what I want the final mood to be. After running my other cards through Raw Magic and Resolve, I think @Nikkor is right about going the Resolve route. Now I just have to learn how to use Resolve more proficiently.

Ain't that the truth. On Part 1 of my short shoot, after we shot at the ferry and the docks, I was bummed because I was afraid the interior motel stuff, where the majority of the story takes place, wouldn't live up to the imagery of the opening sequence... it probably won't.

They look great. Love the jeep shot. Looking forward to seeing your historical doc. Yeah the 40mm looks like a sweet little lens. I had the 35mm f2 for a blink of an eye last year, I think I may pick up another one, if I can get a good deal. And the 50mm 1.4 is supposed to be a beauty as well. Ugh, too many choices.

Thanks Don, I appreciate it. Have you had the chance to do any more AF100 tests?

Thanks Don, I appreciate it. I am pretty pleased with this set up. That lens is great wide open and gives me just enough dof. To be able to shoot Raw video, handheld is amazing. I was a little worried about interior shots... but after looking at a couple shots, I think they turned out alright for a 2 minute color process. However I still wish I had a better monitor than my MacBook Air... They look a little browner than they did on my computer. I also rarely shoot anything longer than a minute, so I may try to up the resolution to a 2.5k 2:35 variant to see how long I can record with it.

Thanks, supposedly you can preview the last clip recorded. I'm not sure if you can delete them. I'm pretty new to all this, but I'm sure someone else has the answer. I will say I got a little scared because this was the first time I ever filled a card and when they fill, the camera asks you (in writing) if you are sure the card is formatted as ExFat. I went to check the previous file to make sure I got the last clip and it wouldn't preview, but I assume I was doing it wrong because it asked me if I wanted to delete it. I immediately exited and took the card out. Then I hoped and prayed I didn't erase all the files. Lol. I didn't.

I would but I don't really like Resolve. That's what I'm using now but I actually think the "LogC" from MLRawViewer works really nice with FCPX and an Arri LUT as a start off. Then just a few corrections with FCPX's simple Color Board is all the footage really needs. But I guess it wouldn't hurt to learn a little Resolve. Was thinking it may be a good way to do a rough edit of my shots and that would make for a quicker ProRes conversion in the end. I guess I could also add the Arri LUT in Resolve before I convert it to FCPX for my final edit.

Thanks JP, I'll check this out. I do like the "LogC" function of MLRawViewer, do you know of any other programs that offer a pseudo LogC conversion? I've been reading a little bit about MLVFS and CineLOG, I know Hyalinejim uses CineLog, and when my day job slows up a little bit, I'll probably give that route a test. I really just wish FCPX would accept CDNG files.

Perfect explanation, thanks. I think eventually I'll be have a similar gear regimen as you, but instead of the Micro, I'll have the 5D3 and instead of the D500, I'll have the D7500... if only Nikon would include focus peaking or their PDAF in video LiveView and I may have preordered the D7500.

The NX500 is a fun camera, also one of the nicest cameras to hold. I didn't get along with the color too much but towards the end of my time with her, I learned I was trying too hard to make a ProLost Flat version of their flattest profile. I agree the 2.5K hacked mode does sound interesting but I haven't really found too many videos of it being used. Did the hackers ever figure out how to enable constant focus peaking? Also, I know there is a lot of love for h.265 but... It's great for storage... a 64GB card lasts forever, but transcoding or downsampling is painstakingly slow, even with EditReady, which I agree with Dean, is a must for the NX line. Seriously it is a really slow process... aol dial up slow... as slow as it is to process ML Raw. With all that said, the resolution out of the NX cameras are pretty insane. I would look at the LCD and then look at what I was seeing in front of me and I never realized how clear life could be.

I haven't read all of the posts in this thread, so excuse me if this has been mentioned... but at this price, one would think they'd offer the Raw video upgrade like the FS5 received.

Again nice work. Fun video. I loved the grade you did while they were fixing the bike... very modern "filmic" look!!! I'm gonna go against the grain here and agree with you about Nikon vs Panasonic color. There's just a warmer thickness to the color with better overall separation. Even though I just purchased the 5D3 and couldn't be happier, the only manual lenses I am holding onto (of my 100 lenses) are my Nikkor ai-s lenses and Tokina in Nikon mount, so I am pretty sure I'll eventually buy a D7500 for when I want a little 4K or easier workflow.

Sorry to hear that, but luckily his memory can live on through your film. Great job!

Thanks Dan, sorry I should have been more clear in my long post... this isn't 4K... I actually shot in 2:35, so it isn't even 1080p... it's 1920x810. Since I'm new to the 5D3 and ML, I haven't tested the 4K Raw yet... yet. But I am pretty sure the 4K Raw is not a fluid preview and liveview is in grey scale.

Idk, god forbid Christian Bale, with his 20 million dollar paycheck, can handle acting, the reason he gets 20 million, while some lowly crew member is in his line of sight...

So as some already know, I recently purchased a 5D3 primarily to shoot Magic Lantern Raw. Well this week I started my first short film with it. It was definitely a learning experience but I really don't know of any camera where I would have achieved such pleasing images. I also purchased the Canon 24-70mm f/4 lens and I am consistently blown away by what a great lens it is and the OIS is so damn good, even at 70mm, that the majority of my short, thus far, has been shot handheld. With the recent 4K Raw developments, I figured I would post some pros and cons in case somebody else is looking to pick one up. Well the first pro is that shooting Raw could not be simpler with it. Set up Raw histogram with the overexposure hint and when it shows your color channels are starting to clip or the word "over" appears on the histogram, then just dial back your exposure a touch. Another pro is that there are a bunch of people on this forum still shooting with the 5D3 and everybody is helpful. If you have a problem about any aspect of the process or workflow, there are plenty of other ML shooters around here that go out of their way to answer even the stupidest of my questions... not nearly as daunting as the ML forum. Now a couple cons... you need a bunch of cards... or a computer and hard drive to offload your footage... 12 minutes on a 64GB cards gets filled quickly. Even with 3 cards, and trying to be conservative with my shots and shot ratios, I still ran out of space 3/4 of the way through my second day of shooting. Converting the footage is a bit tedious. The RawMagic route of converting the MLV files to CDNG is fairly fast but then you still have to process the footage through Resolve or After Effects before really seeing what you have. I really like the MLRawViewer program, but although you get to preview your footage, the conversion is slow and after I updated my Mac to Sierra, the version I have does not work with it, but I believe there is a newer version, so hopefully it will work then. I guess that's about it for now, so I'll leave you with a couple graded screen grabs, from a couple shots I briefly messed around with yesterday...

Nice work Rodolfo! Loved the shots toward the end where you follow behind you wife/girlfriend, really nice job tracking focus. Did you use a steady cam for that video? What is the bitrate with the hack?

I am a big fan of your work Ricardo, but I couldn't disagree more with this statement. Nikon has some of the best 1080p video around. The only features they're really lacking is focus peaking. They have good DR, an amazing Flat profile, their shadows are as clean as they come. Other than Canon, Nikon has the best color science on the market. They have hundreds of native Nikkor lenses to choose from and hundreds of third party lenses. I know a lot of folks are turned off by their 4K crop, but at 2.25x, the crop is smaller than the NX500 and the GH4 and only, unnoticeably, more than the GH5. Sure I'd love a super 35mm crop but I can live with the 2.25x with the images their video produces.

No but I believe @Geoff CB had one and I loved a specific beach video he shot with it and the Angenieux designed Tokina 28-70mm lens. But that may have been an 810...

Hey John, sorry I missed this. Excuse my ignorance, but I have no idea what a 3x3 pixel reduction is?

@Inazuma the D7500 is the only hybrid I'm even remotely interested in after going with the 5D3 with ML Raw. I was clearing space on all of my hard drives for the raw file storage, and peeping at my time with other cameras this past year plus and the D5500 was the only image I found remotely cinematic enough compared to the ML Raw... well the BM stuff looked decent too but I have different issues with them. So why not the D7500... the D500 has stunning 4K and the 7500 should be exactly the same.