mercer

This is one of the reasons I'm going to sell the GX85 for the M5. The 5-Axis in the XC10 is almost as good as a steadicam.

I'm thinking about getting the Series 3 model without the head, but they're essentially the same. This is a popular complaint, and supposedly just diligently tightening up the locks, with the supplied Allen key, does the trick.

I was thinking the same thing... On both counts. In fact, I have been so impressed with the DPAF I have seen, I already bought a lens to go with a future camera purchase. The question is, are the later implementations of DPAF better, or is the tech the same, there just may be more focus points on newer cameras?

Is there a big quality difference between MLV Raw and regular Raw?

I love my 50D, so much so I am planning a micro short film for it, but I have to admit I am slightly fearing the lack of a scratch track for audio synching. Do you get good recording speeds while recording audio with the 7D?

Do you shoot with MLV Raw on the 7D? I've only used the original raw on the 50D. I use Raw Magic Lite to turn the files into DNGs... It's a pretty painless process. Then I take them into Resolve where I do a simple exposure and saturation adjustment... Spit them out to prores for edit and final grade in FCPX. It's pretty painless. With any footage I am going to transcode it to prores before I bring it into FCPX anyway, so the only added step is Raw Magic Lite, which is actually lightning fast.

I'm just not sure that you can argue, if you want those features then move up to the BMCC. They are two totally incomparable beasts. I think a pocket 2 would have to be slightly bigger for 60p, but I don't think it would have to be too substantial of an increase. The micro has the same height as the pocket, is shorter in length, but deeper. So I assume the depth helps a little but so does the vents. I would think an inch thicker and a better heat sink would be more than enough... At least for 60p... For 2.5k... Not sure?

They'd be insane not to do a pocket ii. Hands down, the Pocket was their most successful camera, but it is starting to get a little long in the tooth. At the very least the form factor deserves 60p, a better LCD and better battery. If they can work out how to include the 2.5k and the global shutter, they'll have another hugely successful camera... Especially if they can keep the cost at or below $1299.

I think it would be a genius move for Canon to include raw video in the M5. If they're truly having technical difficulties implementing 4K into their smaller cameras due to heat dissipation, the inclusion of 1080p Raw would put them in a different category and nobody would care if it had 4K. But they would never do it because they don't think outside the box, they are run by bean counters (as all the major camera manufacturers are) But with their "history with ML" you'd think it would be pretty simple for them to implement such a feature.

Hopefully that slogan isn't my only good, creative idea I have.

Are you gonna go with the Pocket? If I ever find a new one for $600 or less, I will probably buy one. The Raw image is just undeniable. For now I'm enjoying 50D Raw with Canon colors.

Honestly, if I worked for Panasonic I would lobby for an LX100 style camera with a built in fast lens with 4K, Raw 1080p, Mic input and 5-Axis. Keep it as simple as possible with buttons, controls and menu options. Then also include the Raw in the GH5 up to 60p and all the other prosumer bells and whistles.

Yeah that seems to be the number 1 feature for the Pocket MKii wish list. I originally said to keep it in micro 4/3 but an active ef mount with a bigger sensor would probably be a huge hit as well. Let it land around $1500.

Yup. Olympus was beating Panasonic before it had 4K video. Now, why stay with Panasonic? But I would love to see some Raw video trickle down into any of the brands feature set. Just give me 1080p 24p Raw and I'll sell off all my lenses, buy the 12-35mm 2.8 and be done. I know Raw video is for a niche market, but I can't believe how the majors just allow BM to monopolize it. If Panasonic was bold enough to put 1080p raw video in one of their consumer/prosumer cameras, half of BM users would probably switch over in a millisecond. I think it would be a much more valuable feature than 6K video at this point. I can just imagine the commercials... Little Billy's birthday party with the depth and clarity of a motion picture. Billy cuts into the cake with his bare hands. Everyone laughs. Voice over... "Life's raw moments deserve raw video." It would be cool but it won't happen.

I would love to see an upgraded pocket. 2.5K. Up to 60p. Better screen. Better battery life. A sleep mode that disengages, or saves battery power. Keep the same form factor and MFT mount.

If Panasomic pushes the boundaries with the GH5, it's because they have no other choice but to. They relinquished their #3 spot in mirrorless market share to Canon last year. They need to either be bold, or make microwaves.

Congratulations!!! The trailer looks great. I'm in NJ, but down south near Philly. Good luck with it.

https://www.usa.canon.com/internet/portal/us/home/support/self-help-center/eos-utility/

Some 50D Raw with Cine LUT 3. Without... With Cine LUT 3...

Has anyone ever used a Schneider Digicon filter? I read on another forum that you can get log like results with one.

Is it possible to get the code for Canon Log from a 1Dc firmware update, reinterpret it, and then just load it as a picture profile through EOS Utility? I guess if it was possible, I wouldn't be the first person to think of it.

Canon Rumors posted a possible price leak. It's a low level rumor, but if true, I'll be pre ordering a body. Body - $899 With 15-45mm - $1098 With 18-150mm - $1198 The interesting part is the rumor that the body only and the kit with 15-45mm will get a $100 discount during preorder.

Nicely done! The story, directing, acting and sound design was top notch. If I was forced to make one critical note, which I'm not forced to, but I will... Through your protagonists drone journey, you gave us a tour of his town. He witnesses an assassination through the drone camera's eye. At that point we leave first person narrative as you cut back and forth between the hero and killer. I think there may have been more tension if he was seen following the drone back to home base through the drone's eye. We would have seen him pass snowball guy and head right up to unfriendly neighbor who is friendlier to the antagonist more than the protagonist. Then go back to your hero just as the killer walks up the snowy sidewalk. But I'm torn because then we wouldn't have seen the cool driving the car over the camera shot... What camera did you use for that shot by the way? Or you could have changed perspectives entirely and only followed the killer up until the very end when he is killed by the drone and our hero sits victoriously in the killer's car. But again, I'm just nitpicking here, it was very well done. In fact, it was probably my favorite piece posted to this site in the past year... That's probably why I have my ideas for your film. Good luck with it!!!

I think you're over playing the flaws of 50D ML Raw as if they're flaws limited to the 50D ML Raw when that's not entirely the case. From you're laundry list it really sounds like you wouldn't recommend any ML Raw capable camera. I thought all ML Raw was recorded from live view which is 30p, so all 24p is a "dropped frame" scenario... I've only really used 50D but that's how it seems from the ML guide. Only the 5D MKiii can do full resolution and only the MKiii is moire and alias free without a VAF filter. But with my short and limited experience with it, the moire and aliasing is a minor hindrance... Nothing that would keep me away from it at the price point. You don't need to natively edit the raw DNG files... You can easily process the Raw in Resolve and then render the files to ProRes for editing in a less taxing system 64GB Lexar 1066 CF cards are 60 bucks at BH and I've been getting over 20 minutes with them. Sure I'd love to get 2 hours, but for a $200 camera that shoots Raw video... I can't complain. With all that being said, yeah it's not the best production camera, or even in the top 20, but for the price, you get a lot... especially if you're just looking to get your feet wet with ML Raw... Which is what I took from the OP.

Honestly, the problem is your budget, which is why I recommended the 50D, and since you mentioned an interest in it. For that money the 50D is the best Raw capable camera around. But in my honest opinion, if you're just looking to get your feet wet with video, don't switch to m4/3. You already own Nikon lenses, there is absolutely no reason to switch. I would search for either an upgrade to your D7000... A D7200 or a D750 which gives you the flexibility and durability to shoot video and stills in one package. Their flat profile is beautiful and the video codec is strong in 24p and 60p.