mercer

I'm so spoiled by IBIS, I'm unsure I can go back to a tripod or monopod. I shot that D5500 video last September and I don't think I've used a monopod or tripod since. Do you know how well OIS lenses work with the Pocket cam? I'm half tempted to buy a Metabones EF to BMPCC speedbooster and that Sigma 17-50mm... just so I can shoot handheld.

Yeah, you're right. I already have a cage, a Metabones Nikon BMPCC Speedbooster, an extra Pocket Battery, so I need to just get a Pocket cam and be done with it, but I just really like the IBIS on the a6500... and the clean 1080p on my D5500... and the point and shoot aspect of my RX10ii... I need to just go back to screenwriting... I don't think so... I think Gorilla Grain comes as an MOV file that you add as an overlay.

Yeah it may be more subtle by buying some gorilla grain and doing an overlay or a blend. Thanks.

Honestly, I would love to see what you could do with a t2i or a D5500.

Yeah if the ML team has the inclination, and it's possible, the 77D could be a great option for low cost, handheld ML Raw. The software based IS in the XC10 is the best IS I have ever used. It's better than the IBIS in the a6500 and the GX85... no question. Other than a strap I was pulling taut, there was no other physical stabilization. During this shot(s) I walked forward backward and shuffled sideways... try and do that with a Panny...

Some of these vintage lenses look so great wide open and take away some of the harshness of ooc 4K, that a lot of the times, the variable ND can act as a clickless aperture.

So, I have been simplifying my post workflow and to practice I've been messing with some old D5500 footage. I decided to stop using Color Finale, Film Convert and Colorista and only use the basic tools in FCPX. The D5500 has proven to be a great camera for this simplified process... just enough DR to handle a little post processing but not enough to let me get out of hand. With my latest tests I have been using some Film Grain from Red Giant Renoiser. I have been using it at default but I think it may be too much... even for Vimeo's compression. Any film grain tips would be greatly appreciated.

Yeah, a C100 minus the top handle with the Sigma 17-50mm could be a cool combo. I briefly had that lens for my Nikon and it was almost as steady as a tripod for static shots... or light movements.

Camcorder? C100, XC10? Or something like the XA10?

Yeah, way out of my price range, but maybe in a couple years it can meet me halfway.

How is the FS5 with Raw upgrade? Hell, how is 10 bit 1080p internal with sLog3?

There are so many good cameras with great images on all sides of the price spectrum... but if I had to choose based upon your criteria at 3000 bucks... I would say either a BlackMagic camera or a C100ii. Now if you were to say $1500, I would say the a6500. At 1000, BMPCC. At 800, the G80/85. 500... D5500.

Find a plastic, insulated beer cozie and attach a small tripod plate to it... I think Sima makes a really small one that locks pretty nicely... or just a 1/4in screw... or probably a small ball head would be your best bet. Or get a plastic coffee mug that is just wider than a beer bottle and get a foam rubber beer cozie to slide inside the coffee mug for a tight fit. Drill a hole through the plastic coffee mug to attach that small Giottos ball head. Keep the hole close to the coffee mug handle so you can steady the mug as the talent picks up the beer to open it. But probably the easiest of solutions would be to get a GoPro Hero 5, shoot in 2.7K 60p ProTune for slow motion of the bottle caps being opened and then just use a lightweight Velcro GoPro strap to attach it to each beer bottle.

I've been patiently waiting for the price of the 70D to drop, so I can do just that... hopefully the release of the 77D will help it to drop. The M6 is interesting because I believe it isn't based on the Powershot like the M5, M3 and M10 before it... so that one may just be possible. Doesn't the XC10 have the same software based IS? If so, I have yet to use a better IS.

Do you want a shot of boogers while someone drinks their beer?

Oh yeah definitely. It's pretty known that sLog3 does not play well with 8 bit, but in certain shots... it is amazing. slog2 has similar problems on occasion but again I feel the pros outweigh the cons in most instances... Back OT... GH5 RULES!!!

Yeah I hear ya. Other brands have better bells and whistles. Focus peaking is probably the only feature keeping me from going all in with Nikon... plus a few other minor annoyances but even with the 2010 inconveniences, at the end of the day I cannot deny the image.

I really hope Nikon doesn't get out of the low end camera business like some rumors are stating. I was messing around with some D5500 clips this morning and man is that Flat profile nice.

Yeah, I am loving the a6500. Slog3 with sgamutcine3 is really something special. And as long as you don't have a lot of blue sky in your shots, I haven't noticed any artifacts.

Yeah he is a talented guy. Now I'm also not saying that you should run out and buy an old Canon t2i, I am saying that you have options and for what you have in mind, a Canon may be the perfect camera brand for you. But there are a lot of brands and camera models to choose from, so continue to do your research and watch a ton of videos. If you decide to go with Canon, decide if you need or want 4K, if you need or want slow motion, and if you need or want to use the great Canon Dual Pixel Auto Focus?

To be clear, I am not trying dissuade you from getting a GH5 and native lenses. One can do a lot with that camera, but the easiest look will be a little clinical. If you are a good colorist, you can make any camera look "filmic" or "cinematic." If you're looking for an easier path to that, then get a BlackMagic Camera and shoot in Raw or ProRes. If you're looking for great AF and nice skin tones go with a Canon. If you want 4K, go with a Mk iv. If you want a more cinematic look go with a C100 mkii. Take a look at Kendy Ty's videos on Vimeo and see what he did with an old Canon DSLR... The important thing is to do your research, know your abilities and know how much time you're willing to put into the final product. That is all... good luck!!!

I believe it's false... the high bitrate 1080p at 60p will be 10 bit, but I think the 4K 60p will remain 8 bit.

Edit: I've seen some nice footage using a glidecam, but I have never used the combo.

So just to clarify the OP's request... will you be filming your daughter's dancing primarily at recitals? I think without a doubt you would want a zoom lens. Sure in most instances primes are better but for your purposes, I would only recommend a zoom. Since you would like some nice bokeh, you need either a fast zoom or an f/2.8 speedboosted. For the filmic look you are after, I would certainly recommend one of three lenses... 1. Sigma 18-35mm with two adapters... the Metabones speedbooster and a Metabones electronic... this way you will double your zoom range with the one lens and depending upon where you are set up, you can choose the proper adapter accordingly. 2. Nikon Nikkor 28-70 f/2.8... the Bourne Lens... speedbooster and dummy adapter. 3. Tokina 28-70 f/2.6-2.8... Angenieux design... speedbooster and dummy adapter. There are various other zooms that will work for your specified needs... the Sigma 17-50mm f/2.8 with a speedbooster would be lovely. Vintage Nikkor zooms. Canon L FD or EF zooms speedboosted. But honestly... if you are after a filmic look, I wouldn't get the GH5 and the native primes or zooms. The GH5 is going to be an amazing camera and there will be amazing work produced with it and some of that work will look filmic, but it will take work to get there. I personally believe you can acquire what you are looking for with a better suited camera to your needs. For instance, if you are really interested in the filmmaking aspect of the project, then I would recommend either a BMPCC or a BMMCC. If you are interested in a good looking video with good colors and ease of use with great AF, I would recommend either the Canon 5d Mk IV or a C100ii. The Sigma 18-35mm will work brilliantly with Canon's DPAF (dual pixel auto focus) and your footage will thank you in the long run. This was shot by fellow forum member @Kubrickian with a Canon C100 mkii. Now he is a pro, but if I were in your shoes, with your budget, this is the route I would take.

Yeah, so in FF terms... it has the field of view of a 42mm? Polanski would only shoot with a 50mm because it was believed that a 50mm represented the FOV and angle of the human eye. More recent eye tests have determined it's actually closer to a 45mm lens... so that 28mm in Super 35mm is just about the same. Make it a fast lens and you have a great focal length for either shallow or wide depth... a very versatile lens. I guess that's one of the reasons that people refer to the Contax Zeiss 28mm f/2 as "The Hollywood?"