mercer

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.

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.