mercer

Throw in an L Mount adapter with an internal ND.

The GH5 Mark II really only needed to be a GH5s with IBIS and ProRes Raw output.

Although I wish the BMMCC had a small monitor on the top like the Komodo, I still prefer it over the BMPCC. I usually shoot ProRes, but I like that it has the 3:1 compressed raw and the 60p. The miniature cinema camera form factor also looks kinda cool. My rig is almost complete... I may eventually buy a BGH1 for a similar reason, especially with the new Tilta rig for it... I'd lose the baseplate/rods and the top handle and throw a Ninja V on their for some ProRes Raw. This looks pretty good... But I digress, I kinda like the infuriating form factor of the BMMCC.

Yeah, the price of these lenses have skyrocketed. Have a look at the asking price for the nFD 24mm f/2... it's over $1000... that lens could be bought for around $200 a little over a year ago. They've gotten so high, I am seriously considering selling my EF modified 50mm 1.2 L.

No problem. I'm unsure about the S5's hertz settings. I know there were some issues with other Panasonic cameras when you set to true 24p but since you're set to Pal/25p I don't think that should be the problem then. Are you noticing the flickering with all lettering, or just on letters/numbers on electronics? vLog is a nice profile and since the S5 uses the full log profile, it should be pretty good. But Panasonic has a couple nice profiles that can be a bit more forgiving and still offer a bump in dynamic range. I always liked Noam Kroll's settings for CineLikeD and Like709 seems to be pretty nice as well. But don't give up on VLog yet. The S5 has Dual Native ISO, so if you set to the higher ISO in lowlight, then that should help with the noise. Then you can either stop down, or use an ND to lower your exposure.

Log profiles will be noisier than standard Rec709 profiles. Those profiles have sharpening and noise reduction built into the picture profile. With that said, shooting in lowlight with a log profile can be a waste of time. The point of a log profile is to maximize dynamic range. If you're shooting in lowlight the range of available light is drastically minimized. So if you want to shoot log in lowlight, you either need to introduce more light or raise your ISO. Since log profiles are built around a curve, it's good to know how the curve works, so you can expose for the curve, or you can ETTR (expose to the right) and then pull down your exposure in post. That should take care of the noise. As far as the flickering, what hertz setting do you have your camera set to?

Great film. It looks like an urban Overlook... Come play with us, Marty. Forever. And Ever. And Ever.

They're ProReslicious.

I picked up a very inexpensive BMMCC last year and I am finally getting around to rigging it up. I bought a SmallHD Focus, but I need a new HDMI cable for it. So in the meantime, I used my TV as a monitor to test the Metabones Speedbooster with it and the weirdest thing occurred... everything worked fine but when I hit record, the screen went black... when I hit record again, the image returned. The shots were recorded but obviously I was flying blind. Any ideas why this is happening? With that said, I forgot how much I like the image from the Micro. With just a LUT and a couple exposure adjustments, I came up with this...

Have you considered a C200? With that said, if you can comfortably afford the C70, it may be the best bet for you. And with that said, I hate that Canon switched to the RF mount. Big, heavy lenses that cost a fortune does not appeal to me whatsoever, especially for mirrorless bodies. But I still like the DSLR form factor and still shoot ML Raw on my 5D Mark III, so I'm probably just a dinosaur. I guess a 1DX Mark III could be an option as well if you'd prefer using a mix-pre3 for audio.

And finally... if you want to do it live and capture the action while in the middle of it... a face shield for woodworking is probably both strong and light enough if you can figure out a way to rig it up. It will also slightly curve around your camera to protect a little from the side.

@kye made a great point regarding action cams for different POV shots or even as cameras strewn about the battlefield. You could even mess around with the shutter speeds to give a Saving Private Ryan feel to the battles. It sounds like a fun gig... have fun with it... but don't bust up your camera for it... paintballs can sting. Create the perception of reality.

To add... I've never used a gimbal... but plexiglass isn't that heavy so you may be able to use a small set of rails and the plexiglass and it will still balance on the gimbal. Of course you'd still probably want to stage those shots, so they're shooting at your from in front.

Idk... I would just stage most of it and then create money shots using a tripod/slider combo with a thick piece of plexiglass attached via rails so you can slide forward as someone shoots the plexiglass. Remember to get coverage... if you're shooting profile shots, the action and the paintballs can be real. If you're in the middle of the action, just pretend that they're shooting. Get cans of fog to disorient the action. Get a bunch of different shots using the slider/plexiglass combo so you can intercut them with the wider action. With the magic of editing... dissolves, normal/slow motion, etc... it should cut together fine and you'll have the perception of reality. You could also attach the barrel of a paintball gun under the camera, for some shots, for a video game type of POV shot. Hope that helps and good luck with your shoot.

I assume you could as long as you use a program that has ProRes Raw support. There's no point in shooting raw if you can't adjust the raw data at the camera level.

It's ProRes Raw, so it works best in FCPX. I think Premiere supports it. Davinci Resolve does not work with ProRes Raw.

It's a manufacturing supply thing. The majority of their cameras already use the EF mount. Their molds are designed for this. They sell their cameras for a lot less than their competitors, for similar, or better features, they aren't going to change now and lose the little money they make on each camera. Not to mention, they've decided to market their cameras to a larger demographic than just cinema and the majority of those other people use EF lenses, or lenses that easily adapt to the EF mount.

Yeah, his name isn't Tony. I bought clamps from him last summer and he went above and beyond to make me happy while giving me some of the most practical and historical information about my Kowa 16D... apparently they were used on crash cams in 80s action films.

I hope the waitress had a ground guy with a tag line as she placed the tray on that glass... I feel bad for the ants on the ground with the amount of localized pressure on that glass.

Photo seems a little suspect. If this is in their cinema lineup... why does it have a shutter button? If anything, that should be where the record button goes. Also why is there a joystick on the top of the camera? It seems like the worst place for it. Idk, it may be accurate and I am intrigued but it seems like this may be more of a hybrid than a full on cinema camera.

Bigger sensors aren't just about shallow depth of field. They're about depth of field in general. Smaller sensors tend to feel flatter and two dimensional whereas FF and MF places your subject within and inside the image where near to infinity feels like a tangible space.

I meant the FP for photography. I've been looking for a hybrid forever. Obviously, my 5D3 can be used, but I'm looking for something smaller. I'm thinking of picking up an Olympus, though. I agree it's gotten better, but it's still pretty bare. M-mount still seems to be the best. However, I did notice that a c-mount to L-Mount adapter is available that promises infinity focus... so if my math is correct, a 50mm c-mount should cover the sensor. That could be a fun experiment. Agreed about both. Have you tested the crop mode on the FP? Re: aps-c lenses... It seems awfully strange to release those lenses without a body to attach them to. I know Leica has some aps-c cameras, but I wonder how many Leica camera owners would buy Sigma lenses?

With full frame, 28mm to 35mm are basically street shooting lenses for me. I kinda prefer 45mm to 50mm, but I can go handheld with the former, so they're much more versatile. RE: the Canon 20mm 2.8, I am probably going to buy the lens within the next couple months due to a shoot I'm doing this spring in a car. So if you do get it, please report back with your thoughts and some sample images.

I wish I could use a card writer because I have a bunch of high speed CF cards. With that said, what's the smallest SSD you've tested with it? I noticed SmallRig or Tilta has some new handles that have a space for the SSD built into the handle and one that has SSD and a battery with a record button. It seems pretty slick. On another note, I wish Sigma had chosen a different mount. I understand about their alliance with Panny and Leica, and although Sigma is starting to release some smaller lenses, there aren't enough native lens options to get me excited. More than likely I'd adapt lenses, but then the added size of the adapter/lens dwarfs the camera. I guess m-mount lenses are good options, especially considering the 7artisans/ttartisans options that are being released... like that lovely 28mm 1.4 you have. Speaking of... I found this video on Vimeo of the FP/28mm 1.4 combo...

Haha, very nice! I'll most likely buy one some day. How do you like it for photography?