mercer

Sorry, should have added I don't have an a7s so I don't know if it's possible. Yeah Canon video is soft, but in some ways that's why I kinda like it. Vintage lenses add some nice character. Good color... Idk... I'm probably just feeling nostalgic.

There's really just not enough video samples out there to say for sure, but I must admit I am intrigued by the M5 and regularly look for uploaded video samples. But again since it hasn't been released yet, there have been few samples uploaded. But I do think it could be a cool camera for the reasons you noted (unsure if it would make a good B-Cam to the a7s) And also I think it could be a great camera if you're looking to create visual work similar to Kendy Ty's t2i videos.

Yeah, it's a good little program for a simple workflow. I'm sure you're not getting all of the benefits of Raw but the image still has the weight of Raw with an easy to edit and grade codec. Of course, I have read on a few sites that you shouldn't do any more than tweak the WB before getting it to an intermediate codec anyway... but like with all of this stuff... for every one person that says one thing, you can find two that say the opposite.

If you want a quick and easy workflow to get your feet wet until you learn Resolve, ML Raw Viewer, which was made to process Magic Lantern Raw files, will process BMPCC Raw files and export them to ProRes.

If there was only a dislike button and I'd be in the negatives.

Oh God... I spend too much time here. I have learned a lot, but I hope nobody takes my amount of likes to mean anything more than I have too much time on my hands... because I don't know shit!!!

I agree, I don't think dropping Contrast down to -5 is about getting more DR, it's about me being able to choose where I want to use the DR in post as opposed to where Panasonic wants me to use it to videotape my kid's birthday party... I don't have kids and I'd rather eff up my footage on my own terms, not Panasonic's.

I see your point, but conversely Johnnie makes a film with most of the cameras he reviews, and his reviews are anecdotal based on his experience while making the film. I come here for technical knowledge, but occasionally go there to see a finished film with very specific cameras. Hell, I bought the EOS-M10 for $200 because I wanted to use your Canon profiles and because I saw his real world use of the M10. So, it's all symbiotic.

Yes, according to the video, it will work with both pocket and the micro. They even have some type of ND disks that will drop in as well.

I understand the logic, but I always thought the point of dialing down contrast wasn't about getting more dynamic range, it was about dialing down the baked in contrast curve, so you could choose your curve in post. Obviously people have differing opinions on this, but some of the nicest footage I have seen with the GX80/85 is from Martin Wallgren and Jase and they shoot with the Natural or Standard profile with -5 Contrast. Even back to the GH3 days Noam Kroll recommended using Standard with contrast dialed down.

I find with most 8 bit cameras, unless there is a designated flat profile, that a variant of Prolost Neutral is your best bet... for me anyway. So with the GX85, I have found the best results to be Natural with Contrast -5, Sharpness -5, NR -5, Saturation -2, -3. I find default saturation to be fairly obnoxious in most cameras, so dialing it down usually helps to even the RGB channels. YMMV @Andrew Reid If he used nouns, verbs and adjectives to relay his point we could have a discussion.

A little further explanation...

To add... why does it seem that the IR pollution is almost random? With the Micro, you needed an IR filter with nearly every shot because the pollution was so prevalent, but with the pocket and 12-35mm I didn't use an IR filter and I had no issues with it. Also, did you hear that the new generation of the BMPCC Mosaic filter also adds IR filtration. I think it will be released any day now, so I am excited to see the results.

You're definitely right about the pocket but with zebras at 90 or 95% you usually can get pretty good prores, if you watch your shadows. I started off with the micro, but hated the form factor, sold it, then eventually bought the pocket with the 12-35mm f2.8. I had a bad copy that overheated, so I just returned it. This past week, I was cleaning out my hard drive and finally had a good look at the test footage and it was undeniably the nicest footage I ever shot. There's just a nice weight to the image and the files grade easily as long as you balance them properly... as I'm sure you know... but if I had the money, time, skills and talent I would rather shoot S16 or even some of the newer negative stock S8 with a Pro8mm conversion. Of course, I would love to go back in time 15, 20 years and shoot Kodachrome 40.

Idk, if I had that kind of money and needed/wanted 4K, I would probably go with one of the Blackmagic Cameras... probably the BM 4K Production camera... or maybe the new Terra and then I would put the rest of my camera budget into my short/feature production budget because you'll always need more... or maybe even rent the camera for the narrative and commercial work and then buy a C100ii for your bread and butter work. But to be honest, if you can't make a good narrative short on the C100ii, you probably can't make a good short. Have you considered 5D mk iii ml raw for a short? Honestly one of the most beautiful images I have ever seen.

I have owned a butt load of cameras over the past year and a half and IMO, for a small budget narrative, nothing beats the BMPCC. With the right lens and prores, I think you can get a really filmic image. I think the next step up is the 5d Mk iii... so you should be good. The next step up after that would be the Digital Bolex. Otherwise, buy a Krasnogorsk or old Bolex and shoot S16mm film.

That looks great, man. Which camera did the hanger shot and what lens? Also, was that all c-log?

Cool, I saw they were on sale the other day. The original without the DPAF is $1799... so cheap. Btw, I heard the benefit of the c100 with an external recorder is imperceptible.

Very cool, Tim. The imagery and energy are great. I half expected to see Brad Pitt pop up while simultaneously planning and performing a heist... and slapping his kid...

I think we'd have to take a poll to decide which cameras made it into the poll.

Basically the Nikon Flat Profile is the best picture profile I have ever worked with. I actually like the 1080p from the D5500 better than I like C-Log... and I really, really like C-Log. The blacks are clean and even when there is noise, it's very organic. If it wasn't for the crop factor in the D500, I would have already owned one. But Nikon cameras aren't the most video friendly, but the image is worth it.

How about a mark iv or the Nikon d500 or the Fuji x-t2?

Thanks Jim, that would be great. I watched a few of your mk iii videos on Vimeo. They look amazing. I have the 50d and don't mind the workflow, but that camera is so limited and you really have to take care that it doesn't overheat, but great imagery nonetheless.

My reasoning doesn't have to do with the ghosting issue at all. I was happy with the results I was getting from C-Log, I just miss my lenses too much and I cannot afford two expensive cameras. Plus, it seems the price of the XC10 is dropping rather quickly on the used market.

It's a shame too, because the XC10, seems like it should be a great event camera, but without lowlight capabilities, it's use becomes a little limited. I am definitely selling mine, I just need to decide what to replace it with. I was thinking about going the D500 route, but I think I will wait until they up some of their video functions and the 4K funnels down into their lesser models. So now I have to decide between the X-T2 or a 5D mk iii. Since I only work on narratives, the mk iii seems like the better choice.