mercer

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.

If you're interested in the C100ii, check out the last two pages of the XC10 thread, Lintel and Kubrickian have been posting some footage of the C100ii for me to see and it it just stunning.

I just came across a clip I shot with the GX85 a couple months back and every time I've seen it, I am really blown away by this camera. I've been trying to go all in with Canon and invest in their glass so I can use DPAF, but then every time I watch a clip from this little beast, I get more confused.

G80/85 footage looks nice. Am surprised to see that these videos are shot with CineLikeD. I know many suspected that Panasonic tweaked their color science a little after the release of the GX85, and I think these videos may prove that. Has there been any word if the HDMI out can be downsampled to 1080p in camera like the GH4? If so, the modest an inexpensive Ninja Star could be used to record high bitrate ProRes. That would really make this camera interesting, otherwise it's really just a GX80/85 with an EVF and a mic input and the CineLike profiles if they matter to you.

Sorry for all these questions, but I have a few short films in the works and I really need to nail down my cameras and soon. I tried testing Andrew's C-Log with my $100 eos-m10 but the codec is so fragile it's hard to make a good comparison to know if it will help with the 80D... if I go that route. But like you said earlier, close ups are on my side there. I will say that I think Reid-LOG has definitely helped with the little camera. I may purchase James Millers' Canon LOG profile and see how that fares. Also, when you have used both in the same video, do you use the 1080p from the XC10, or have you used the 4K?

A quick and dirty test of my Canon EOS-M10 and Andrew Reid's Custom LOG. Since this camera is Canon's most basic interchangeable lens camera, I cannot guarantee that others' experiences with other Canon cameras and EOSHD-LOG would be similar or different, or better or worse. So, basically, this is my quick test with my modest equipment and skills. Your mileage may vary... Equipment Used: Canon EOS-M10 Canon FL 35mm f/3.5 Magnus 2XM-2000V Video Monopod EOSHD-LOG Picture Profile Impulz LOG Kodak Elite Chrome 200 FPE LUT

Yeah, people claim to get 1.25-1.5 hours out of it, but I never saw that. Of course, to be fair, I was using Wasabi batteries and it was blazing hot when I was using it... if heat makes a difference. But, I use the same batteries, in the same weather, with my XC10 and I'm getting 1.5-2 hours out of them and that's with a screen at its brightest with 5-Axis turned on. The other big issue I had with the Micro is the required rigging. Obviously, you need a screen, but the screen turns a camera the size of a Rubik's Cube into Frankenstein's monster. And since my style of filmmaking is more slow burn, I attack principal photography like it's B-Unit. So a lot of run and gun shooting where I am the crew. So, I would shoot a couple shots at one location and then load up the truck and head 5-10 minutes down the road for the next. With the cumbersome rig, I was forced to break it down in between locations, and that gets old quick. And then finally lens options. At the time all I owned was vintage, full frame lenses or vintage c-mounts. I had no interest in a speedbooster, so I was primarily using c-mounts. The 25mm Voigtlander was the best combo I used with it, but I sold it to help offset the costs of the monitor and the camera. Like I said, I probably should have bought a pocket and used it out of box with the 12-35mm OIS Panasonic handheld, and/or c-mounts with a monopod. I just hate the thought of paying a grand for a camera that cost $500 2 years ago. But it's my own fault, Zak warned everyone that if you prefer the DSLR form factor then you won't like the Micro. At the time, I didn't realize how much I liked the DSLR form factor. I've actually come so full circle that I prefer DSLRs now to even smaller mirrorless cameras. But even now, I'll go back and look at some of my clips and I am mind blown every time. The ProRes alone is freaking amazing. And the Raw 3:1 is just insane. I shoot a lot of footage in the woods (horror type of stuff) and the difference Raw makes with foliage and tree bark is insane compared to any modern consumer price equivalent. Btw, have you ever used the Pocket with a native lens? Am curious to know how that focus button works.

Yeah, that's my issue. If I made my living doing this, I would get a C100ii in a heartbeat, but my goal for filmmaking is really just as a promotional outlet for my screenwriting. Do you have any videos where you mix the xc10 and c100?

Yeah a drone camera... How many of the actual users fly it? And to be honest, if that is improved battery life, then the Pocket must be worse with battery than everybody claims, because I was lucky to get 45 minutes out of a battery, on the Micro, if I shut down the camera between takes. And even then the battery drains quickly unless you remove it. But other than a few minor annoyances (IR Filter, lens selection) the ProRes image alone is the best 1080p image for the money and the Raw is just mind blowing. I probably would have enjoyed the Pocket better, even with the frequent battery changes. And if I can ever find one for the right price, I will surely buy it and use it as designed... No screens, no external batteries, just an OIS lens or a C-Mount and monopod.

The Micro is definitely better, but I just don't like the ergonomics... I really, really don't like the ergonomics. Now the 5d Mkiii ML Raw is as good or better than the Micro. And the benefit with that camera is, you can take the ML card out and use the regular Canon with Reid-Log if you're looking for a quicker workflow. I also don't have the G7 anymore, I sold it when I bought the Micro. Then I bought an XC10 and a GX85, but I am selling the Micro and the GX85 and will replace them with either an 80D or maybe a C100ii. Oh yeah I also have an eos-m10, which is what I am currently using Reid-Log with. As far as my G7 settings... I used Noam Kroll's settings but with Natural instead of CineLikeD.

Damn, really really nice work. Those Sigmas with the C100ii really work beautifully together. Great, now I want a c100ii and the sigma 18-35... Haha. Just kidding. But not really. Oh yeah, your logo animation is great!!!

Here you go... http://m.ebay.com/itm/YI-M1-Mirrorless-Digital-Camera-With-12-40mm-F3-5-5-6-Lens-42-5mm-F1-8-Lens-US-/162213096941?nav=SEARCH

They already have it listed on eBay for preorder, so you may get a quick reply if you ask there.

Actually, I'd like to hear about the IS as well... I didn't have it on when I used my 50D and to be honest I think there is some weird work around with OIS lenses and ML on the 50D. To me an Alexa is a fabled myth that may or may not really exist... I'd probably just shake it like a caveman. Ha. At least the C100 is in my realms of possibility one day... And it's good to see what the C100 is capable of.

What the eff is an import tax? ?

Honestly, that piece looks like a scene out of a movie. Simply gorgeous. Who needs an Alexa when you are getting those results. I wish I could just buy everything you used in that piece and get the same results... But I know it isn't that simple. I was actually going to ask you what kind of stabilization you used... I thought you may have used a handheld rig or a steady cam. I think the monopod was a great choice, it added the fluidity to the piece that was required due to the location and the fluidity of her playing. What monopod do you use? I have a Sirui and although it was good when I first bought it, it is breaking down a little sooner than I had hoped it would, I am thinking of replacing it with a Benro and Manfrotto head. Good to hear about the 35mm, I did get a chance to test it with my 50D and I love the IQ but I only used it with manual focus, so I was worried how it would handle DPAF.

I finally had the chance to upload the C-Log onto a camera. Unfortunately it's the eos-m10... Probably the lowest level Canon camera, but it's the only one I have access to at the moment. I think the C-Log definitely helps with the shadows and I am really enjoying it so far. I've also been testing some of your other profiles. I love the look you have shown with Chrome, but with my footage it is SUPER saturated, whereas your samples look muted... Do you think it may be camera specific? Also Cinema 4 is very saturated as well, when I cut the saturation in half, it more closely resembles your description. But with the saturation knocked down a touch or two, it kinda resembles the Wide DR mode in Canon's C cameras. Nice job, it's really cool to breathe some life into these cheap old tech cameras.

Wow... That's a pretty amazing piece of work you accomplished there. I barely even thought about gear while watching it. Perfect time of day to shoot it. Piano on the beach was a brilliant idea, though I can only imagine the logistics involved getting a Steinway baby grand on to the sand (crane or forklift?) Damn really nice piece. You did have a lot to work with... Beautiful and talented woman, perfect sunlight (great idea to use the setting sun as backlight) but still the concept was so simple and masterfully executed And the C100 really is an amazing camera. The way it handled the sun infused highlights in her hair and the reflection of the sun and her hands on the piano above the keys. So soft yet sharp with great DR. One of my favorite pieces I've seen posted on here. How does the Tokina handle the DPAF? Also, do you have the Canon 35mm f2 with IS? I recently bought a refurbished one on sale in preparation for DPAF. I'm hoping it works well with it, but I haven't found many samples online and the sale was ending that day, so I took a gamble.

Thanks, that's good to know. I have been trying to keep my ISO as close to 500 as possible in C-Log, so hopefully there would be no issue What lenses do you guys use with your C100s? I assume mostly Canon lenses to utilize the DPAF? I remember from my time with t2i, many moons ago, that you really could nail different looks by using different vintage lenses. You'd still have that Canon color but the color tone may be slightly different depending on the brand... for example Nikkor aI-s lenses were slightly cooler than Takumars. Does the C100 handle vintage lenses in the same way?

Idk, I'd rather not have to learn Mandarin to buy a camera at it's realistic value. If they wanted to include 720 or 1080 raw video for 600 bucks, then I might be interested, but for a low level 4K camera whose biggest distribution pipeline is eBay, I think the $300 announcement price is reasonable... And even that is tipping the scales toward unlikely.

Looks great. Did you notice, in your video, that only women appear to do any work in Nepal... Well women and small children. Btw, what camera did you use?

I don't have the 80D yet. I was waiting to see how the M5 matches up to it. Since it was sharing a sensor, I thought they were going to include the higher bitrate video as well... They didn't. Plus I wanted to do some tests on a cheaper camera to see if I can match Canon LOG and Reid-LOG. So, I just picked up a dirt cheap M10 to run some tests with. Plus plus I will probably wait for a Black Friday sale and try to get the 80D a little cheaper. But your points about close ups are very valid. This is why Canon DSLRs became so popular in the first place... Shallow depth hides the inherent budgetary and time restraints common in no budget filmmaking. Good point about M4/3rds as well. The problem I had found with every other brand of camera I have owned, other than Canon, is that the colors require more tweaking to look "good," and I am not that great with color. I think Panasonic is getting closer with their newer lines, but it still takes some time in post to acquire that "organic, cinematic" look and texture that comes naturally out of the box with Canon's color science. A couple months ago when I bought the XC10 and shot some footage with the 1080p C-Log, I realized in the first moment I looked at that first clip I don't even need 4K or actually want it in a lot of situations. I think 4K takes a naturally gifted colorist (which I'm not) or a good dose of FilmConvert to get footage to look "organically cinematic." And this is my fear... Even with the 100mbps from the 80D. So let me ask... how close is the 1080p C-Log from the XC10 compare to the C-Log from the C100? Are they indistinguishable? Can you intercut the two, without any noticeable difference, as long as the correction/grade matched?