mercer

It looks pretty good. And since this is a tech site, it was cool to know the equipment used. The GH3 holds up nicely. The slow motion mixed with the sheer opulence of the location and subject matter created some tense visuals that really pushed the scene forward. But most importantly I was engaged with the story and am curious to know what happens next... So... Smart move releasing the first 5 minutes as a teaser. Good luck with it and reply back when and where the film is released.

You know c-log has zero in camera sharpening. I've only used c-log and wide dr. I glanced at cinema eos for a sec, it seemed okay... But I didn't stay on it too long, I just like 1080 c-log with the 5-Axis too much to deviate for too long.

Welcome aboard... I look forward to seeing your results. Have you tested the 1080 and the 4K? Once you get the hang of the slip into f/3.7 and start riding the aperture wheel, the low end... 24-50 really shines.

No, but I am curious how that Yashica Scope Anamorphic would fair with it.

The a5100 may sizzle and crumble to ash in your hands if they were enabled.

Yeah but the 1080 image from the D750 isn't as good as internal 4K downscale to 1080 from the C100ii. IMO.

Yeah, you definitely can, just more difficult composing at a 50mm equivalent focal length. Btw, I think that video was C100ii. But the 1080 image is similar and the 4K image from the XC10 is bonkers.

Is it fairly easy to match the video from the 80d with the c100 clog? I have an XC10 and I love it but it lacks shallow depth of field for close ups, so I was thinking the 80d could fill that gap, but I'm afraid I won't be able to get them to match.

Not too bad at all. It was kinda cool to see the touchscreen DPAF in action as well.

It seems like the BMPCC is the only cam that meets most of your criteria... Depending upon which is more important to you... 4K resolution or discretion? If you don't mind a small sensor, then the XC10/15 is a great camera with unmatched (at its price point) broadcast quality 4K and the gorgeous 1080p downscaled from 4 K in camera. If discretion is important, do not get the BMMCC (micro cinema) although it's about the size of a Rubik's Cube, by the time you rig it out with essentials, it becomes a mini beast that draws attention.

Hmm... One man's junk is another man's treasure. If what you say is true, then one could downscale the 4K to 1080p to a Ninja Star and record 220mbps ProRes... With audio input via the Ninja Star... Now that's interesting. I know you want the 4K, but have you tested the quality of the downscaled 1080p... Or is it possible that the camera is forcing 1080p out and not downscaling at all?

Look at @jase 's footage... I believe he shoots 1080p 60p. EDIT: Sorry, I thought you were talking about the GX85's 1080p. But yeah, I'd be interested in seeing any of the 1080 from the LX10 or the FZ2500.

Yeah, they can be really frustrating, but damn do they know how to build a camera. I recently bought an eos-m10 for next to nothing and although the video quality is a little 2012, the camera is a joy to use. The tilting LCD is really nice and it has one of the best implementations of focus peaking I have ever used. I have a couple ef lenses but no camera to utilize the DPAF with. I'm considering saving up for a C100ii but I probably couldn't put together that kind of extra cash until next summer or fall, so this is why I am considering an 80D. Also, it seems to have a higher bitrate than the normal Canon DSLR... Around 100mbps... Is there a noticeable difference?

Yeah Nikon is great. I have always wanted a D5500 for that Flat profile. If the D500 ever drops dramatically in price, I may be a customer... I like the 4K image and the 1080p supposedly has some form of IBIS. But as of now, if I was going to spend more than $800 on a DSLR, my money would go to Canon... Just for the DPAF alone. For run and gun, one man band productions... It's a priceless feature and it's unlikely Nikon, Sony or Panasonic will catch up to the quality of Canon's DPAF anytime soon... And when they do, Canon will be onto the next generation that will blow away their first attempt.

Yeah, that's dumb. Apparently the FZ2500 doesn't have it in 4K either... But the FZ2500 has the intriguing 200mbps in 1080p. Mix the high bitrate (all I) with V-Log and 5-Axis IBIS and it could be a pretty great camera. I think it outputs 10 bit 4:22 as well. If the LX10 had that high bitrate 1080p, I would probably be a customer, without it or 5-Axis in 4K... Then I'll pass.

I've noticed there are a lot of folks considering a return to Canon... I am one of them. Honestly, if I were you I would go with your gut. The MKii/C100ii combo could be great. After working in M4/3rds land for a while, you may want to consider picking up an 80D for your photography needs plus the video is pretty good on that camera. I know it's only APS-C, and you're looking for full frame, but that Super 35mm look will feel liberating after using the M4/3rds. Plus the touchscreen DPAF in video is supposed to be great. If you enjoy that, then maybe consider the C100ii... Of course, with the current sale of the C100ii, you may want to jump on it, if you are fairly certain you'd like to go that route.

Sorry, I meant if you turn the Andover BMPCC cage upside down and then flip it 180 degrees before you mount it to the BMMCC, the cage handle plank will then be on the left side so it does not interfere with the record or menu buttons. But it looks like you picked up the SmallRig BMMCC cage, so the Andover cage isn't being used anymore anyway. Good DIY on the mount clamp.

Oh I don't know. I think I was using Portra or Velvia. I just found for me, FilmConvert to be the easiest way to nice color with these consumer 8 bit footage... Or any footage really. But your mileage may vary.

Just turn the cage upside down and spin it, the side handle plank will then be on the left side. What are you using as a monitor mount? It looks like a GoPro mount?

I saw this one a little while back while I was looking at your European xc10 video. Really nice work! I am trying to figure out a way to afford a C100 after seeing yours and LintelFilm's footage. I just picked up the 17-55mm in preparation.

@JazzBox I know you said you may be interested in the C100 mkii, so I thought you might want to see Kubrickian's video.

Yeah that's about right, I just like the underexposed look a bit better.

I've also stopped exposing to the right. I don't even use zebras anymore. I have been trying to keep my shots about a stop under using the in camera meter. But I am also shooting horror/thriller genre narrative shorts, so I am probably looking for a darker tone than others and since the shadows stay pretty clean at a stop under, I have been pretty happy with the results... Of course I am going to sell the GX85 pretty soon. Not because of the camera's quality, just because I've decided to invest in Canon glass and utilize DPAF and in my opinion, the more pleasing Canon color science. However, when the prices drop on the GX85, or maybe even the LX10, I will probably buy back into it, but for now that money can go toward other more pressing equipment.

Honestly, I get the best, quickest results using FilmConvert with the Panasonic cameras. With my settings, I usually only need a slight adjustment to the lows, mids and highs and if anything I lower the saturation... But again I find the saturation to be an unwieldy bitch with these cams. For the muted look I ultimately want, I could probably get by with a -4 saturation in camera.

Sorry, do you mean, heavy grading can be a bore and ruin your film? Because if so, I agree... I tend to value Noam's opinions on these matters... He's a great colorist... Better than I'll ever be... Not that it's too difficult, I suck. I think the biggest issue is with saturation with these cams. The difference in taking away too much or too little can have major effect. Of course, I believe I read somewhere that if you drop contrast a lot, then you shouldn't drop saturation as much... Or vice versa? I often wonder if it would just be smarter to make black & white films with these consumer cams... There would be no need to worry about 4:22 or 4:44 or color bit... Just a simple 8 bit 4:20 image would suffice. With the Panasonic you could shoot in color to have more tonal control over your B&W in post but still monitor it with the B&W monitoring function. I did this shot with the 50D ML Raw, so we're talking about a different animal, but I can guarantee the color version sucks... Trust me I saw it... Lol. Who am I kidding that kinda sucks too.