mercer

At this point, without the manual being released and without confirmation from Canon or a site that was given a preproduction model, one can only assume. I remember reading it has clean HDMI out, so I would assume you can record longer than 30 minutes, but what do I know? You may be better off asking over at DPReview.

I really like Natural with the GX85 as well, but I lower my contrast all the way down. To my eyes, it seems the in camera contrast lends to the long standing opinion that Panasonic looks very videoey. I think raising your blacks a touch in post, then lowering the mids helps with the contrast a lot. After I bought the G7, I extensively researched various settings and at the time, with that camera, I settled upon a modified version of Noam Kroll's settings and Shane Hurlbut's settings. They both used CineLikeD. When I bought the GX85, I decided to use a Panasonic version of Prolost Neutral... A long standing favorite profile setting for Canon DSLRs and I've been pretty happy with the results. Take a look at this article written by Noam Kroll. In it he discusses some of the pros and cons of the extra image adjustments in the Panasonic cameras. He specifically discusses the GH4, but I think his points are useful for the GX85 as well. http://noamkroll.com/the-best-gh4-settings-for-video-why-you-shouldnt-be-tweaking-things-too-much/

This is a great write up of the G7. I think the color science tweak has improved (for my tastes) with the GX85, but the G7 is a force to be reckoned with for the price. I didn't love the FD lenses with the G7, but I didn't do a thorough test either and my hand has gotten a little lighter with my grading since then so YMMV. If you get a chance and have access to any Fujinon c-mounts, I can concur Andy Lee's findings on them. They are an awesome peculiar mix between modern and vintage aesthetic... Like a clean, sharp smudge to the image. For a bad analogy that only I may get... it's like a woman with perfectly pedicured feet whose been walking on old hardwood floors all day... There's just something sexy in the dichotomy.

Interesting test, Jazz. It looks like the MKiii works nicely with Reid-Log am curious of a comparison between his and James Miller's LOG-Like profiles. I'm also interested in hearing more from Andrew on the topic. He seems to be pretty busy lately and MIA from some of the questions asked. The good thing about the MKiii is you would be getting two beasts from the camera... Reid-Log and ML Raw. Could be a great tool in the arsenal.

Yeah, honestly, with the 2500, I'm more interested in the high bitrate 1080p... @jase uses the 1080p with his GX80 and is getting great results... Of course the GX80 has a larger sensor but a lot less bitrate than the 2500 in 1080p. Do you know if the VLog is only usable in 4K?

Yeah, it didn't look great. I'm more interested in the LX10 to be honest with you. With that 1.4-2.8 lens and 5-Axis, it could be an epic B-Cam to a G7, G85, or GX85... Or a great C-Cam to the GH4, GH5. But I would probably use it as an A-Cam for some insane guerilla filmmaking. You can take that thing anywhere and shoot a scene invisibly.

Didn't know you had the G7, how do you like it?

Great little cam, you should be happy with it. I have been using Natural - Contrast -5, sharp -5, nr -5, sat -2 or -3. But I have seen really nice work with everything dialed all the way down. The camera is crazy sharp, so I would keep the sharpness all the way down.

You would think musicians of all people would be more ethical when it comes to stealing somebody's work. Now I understand how important watermarks are. What sucks is the utter waste of everybody's time your situation was. They can't use your video and you obviously can't use the video with their image in a reel or any other promotional manner. I think your first instinct is the best... Open a line of communication and come to a mutually beneficial agreement, in writing, so you get something for your time but also make the contract very clear so it protects you from any defamatory statements... Either libelous or slanderous. I'd also get a release so you can use the footage, with their likeness, in any manner you see fit in perpetuity.

Looks and sounds great. How's your 1DXii?

Thanks man!!! I love the XC10, so much so I am investing in Canon glass and picking up either an 80D or a used C100 for shallow depth close ups. As always, it's cool to see you working the DR on that Sony, and I still love that smash cut to your Kidzrevil logo. Btw, what's the story behind Kidzrevil?

I have the 5e and if you are looking at the 3 for the BMMCC, it should work okay with focus peaking on. The BMMCC has some of the best focus peaking I've ever used.

Are there any firmware updates for the lens?

That's why the op is asking about the M5 and it DPAF.

How is autofocus a disadvantage for vlogging?

Coming from a screenwriting perspective, I have always thought content is king with films. And being a NO BUDGET, one man band filmmaker I have to make successions in a lot of areas. I really respect the craft of cinematography, but I would barely consider myself a capable camera operator, so DPAF is one of those priceless tools that cannot go overlooked for me. Everything I have seen from C100s look great and have more than enough quality for a film at my level. Hell, I would be happy making a feature with just the XC10, if I could get, shallow depth of field, close ups with a comparative 50mm focal length. Since that isn't possible with the XC10, I am compelled to get a second camera. Since I write mostly thriller and horror screenplays, that are slow burn with little dialog, I'm unsure if a C100 is overkill since the XC10 will be my meat and potatoes camera, but since I may be the world's worst colorist, I am worried that I will have major issues trying to match 80D footage with XC10 CLOG. I know I sound like a broken record, just constant concerns I am having. I guess I could always buy an 80D and test it out and if it doesn't work I can return it to BH.

This is all priceless information you and Kubrickian are giving me. I really appreciate it. Did you have the original C100 and then upgrade to the mkii? Because I am considering selling off a lot of my old lenses and maybe picking up the mki with DPAF, but I'm unsure. I have an idea for a no budget feature film and I think it may be a smart move, but again, I'm still unsure.

Thanks for putting my video in such good company but I think there are better examples than mine that show off the quality the GX85 delivers. Your latest video, for example, looks brilliant. You are a very good colorist with the way you make the GX85's video image look so organic and film-like. It truly is a great camera and a comparison to the XC10 isn't really fair on so many levels, except that they are cameras I own. If I wasn't so hell bent on having a camera to intercut close ups with my XC10 footage, specifically using Canon's DPAF, I would definitely keep the GX85. But with my recent Canon 35mm f2 lens purchase, I am compelled to use it with a DPAF capable camera, so it looks like an 80D is in my future. Then the question will become, do I need to keep the GX85, or do I just want to. If I can find a use for it, I will be happy to keep it.

Are you in the states, because BH has a great return policy, so you could test the G40 with its WideDR and see how it matches, and if it doesn't you have 30 days to return it. My issue is I have about a dozen ideas for short films. Each one has its own production needs, so the GX85 would be perfect for one or two of my smaller shorts that requires its small, anonymous footprint and shallow depth. But my real issue is I have a large collection of vintage lenses with my Minolta and Nikkor lenses being my favorites. If I do go all in with Canon, I can use my Nikkor lenses, but my Minoltas will be without a camera home. So I am really hesitant selling the GX85 for that reason alone as well. I also love using c-mount lenses with it. Here's a screengrab from the GX85 with an old Meopta 20mm C-Mount lens...

But it seems with Panasonic's newly tweaked color science, and a simple dose of FilmConvert, the GX85 is a very capable camera. I have to make some equipment decisions within the next week or two, so I am planning on taking out the XC10 and the GX85 one day next week and do some side by sides. If there is anything specific you would like me to test, then let me know. I tend to underexpose my footage by about a stop as I have found for my lack of color skills, I get better results. Btw, how do you expose C-Log? Also, I'm not sure if you would consider a traditional small sensor camcorder, but the Canon HF-G40 is a neat little beast with a 1.8 lens, Wide DR picture profile, focus peaking, zebras, 5-Axis IS. I would imagine it could be a great B-cam to a C100 if you shoot Wide DR.

Didn't know you have a C100. Why would you want any other camera? No, I get it. I can imagine live events is a lot different than narratives. I've just been so happy with C-Log and what a basic correction/grade can accomplish. Where the XC10 shines is with its 5-Axis in 1080p and its 4K... As you probably already know, it's the same 4K quality that's in the C300 and it really is amazing.

Okay, you got me. For me low light isn't really an issue because I light my interiors. I rarely go over ISO 800 on any camera. I have tested the XC10 at higher ISOs and it's clean up to 1600, usable up to 3200. The GX85, with a fast lens, is clean up to 800, in normal household lighting, I haven't tested beyond that. The XC10 is a different beast, In day lit exteriors, I just set the lens to 5.6 and ride the ND filter. Or if I'm tracking an actor I will ride the exposure wheel, which is cool because it is stepless and you can get smooth exposure transitions as you move in and out of varying light conditions.

No, it's not close at all. The XC10 wins in every category except for shallow depth of field. The XC10 is a professional camera. The 1080p in it is almost as good as the 4K in the GX85. I actually like it more. But I do like lenses and there is just something really cool about using small c-mount and m4/3 lenses with 5-Axis ibis. My $20 Cosmicar 25mm and my $80 Sigma 19mm just work brilliantly with that camera. I am definitely going all in with Canon. I just need to decide if it's worth keeping a $600 camera for specific projects that can benefit from the specific look and footprint the GX85 offers.

The XC10 is an amazingly underrated camera. That camera has made me reconsider my purchases or plans of other cameras. If it wasn't for my love of shallow depth of field, I would be happy enough with that camera for the next year. If I had more money, I would buy a C100ii to fill the shallow depth of field gap the XC10 lacks. Instead, I will most likely be buying an 80D to handle the close ups. With my newly acquired Canon 35mm f2 lens and the 80D's DPAF, I should have a nice two cam set up with brilliant Canon colors and AF and reliable Canon tech.

Sorry, I missed this. What flavor of ProRes are you using to downscale it? Are you uncheckinf optimize footage when you import the footage into FCPX after downscaling it in EditReady first? I think each log profile is different. With Canon LOG you want to protect your highlights. So do not expose to the right of the histogram. I usually underexpose by a stop. I also noticed that if you use Andrew's LUTS with his LOG profile, it raises your levels, so when I would underexpose by a stop, if I used one of his Cine LUTS, my highlights were really hot. The nice thing about his LOG profile is that your footage will look dark but there is some info hiding in the shadows. Of course, this is just what I've been doing with my eos-m10. Other models may react differently, so just try a few different ways and see how they turn out. Post your results, most people are pretty friendly and helpful around here.