mercer

Honestly, I think you should revisit your GH5 idea. You can only fight these cameras so much. They are good at what they're good at. If you were using a gimbal and needed the AF, then yeah roll with the a6500 but if you want to go handheld and do movement... the GH5 is the way to go unless you want an Olympus which would be even more steady.

Haha, I don't think I even NEED a 4K side camera... I probably need to be happy with what I have, put my head down and get some work done. Lol. My friend bought a GH5 and I had a chance to mess around with it and I must say it's a fine camera. The IBIS and waveforms are enough to make it a very fun camera to shoot with. Good to know about the Samyangs. I tend to shoot with one lens so maybe the 50mm is enough for me. But you're right about the sharpness. It has an interesting mix of modern sharpness and vintage creaminess. I used to have a few Pentax-M lenses and a couple SMC K versions... the original K lenses are interesting because most of them are identical to the Takumars with the new mount. How does Dual ISO work? That feature has been around for a while but it was my understanding it's at the cost of extra noise... or something that made it impractical. That eos-m video looks great... you really found the secret sauce with that camera. I just watched your Beach Vibes video as well... did you process and upres that in the MLV App or in Resolve? Whatever you did, it looks fantastic!!!

Thanks!!! Now when I can find a new one, with the software, I may have to give it a try. I wish BM would offer a fire sale on the P4K like they did with the OG.

Yeah that is a marginal difference, so if I had to guess, a 3x crop (give or take) sounds about right. That shot is in BRaw, right? Did you notice any more noise in the S16 mode? And finally, will SD cards work in that mode or do you need CFast/SSD?

It may be, but from your calculations, the crop seems too large, but I am not the right person to ask about such things.

Should we expect a Fujian P4K sample shot?

With the original they were at the mercy of the sensor but with the P4K its a specific crop they created, so one would assume they chose the traditional S16mm size... maybe @CaptainHook knows? I find this mode very intriguing because it opens up a slew of lens options that could soften the look of the P4K. I don't know if you've seen any footage from the Alexa S16 mode but it's pretty gorgeous. I appreciate the sentiment. Weirdly enough, I haven't found one sample from the new S16 mode online... I would have thought it would be a pretty big deal since a lot of members at bmcuser were petitioning for that mode since the camera was announced. Also, is the S16 crop mode only in BRaw or is it also available for ProRes? And will regular SDXC cards work in that mode?

Thanks, I asked because the OG Pocket was often referred to as having a S16 sized sensor but the actual crop factor was a touch less at 2.88x so I wasn't sure if BM followed the traditional S16 crop in the P4K or the OG Pocket crop of 2.88x.

I don't think there's a need to wonder, the man who told you not to put too much faith in the estimated salary of professional sports photographers just so happens to be a professional sports photographer.

It really is an amazing camera and although I sometimes think I need an upgrade, I really couldn't be happier. I have the 50mm 1.4 Samyang and for the money, I don't know if there is a nicer 50mm lens around. I think my next lens purchase will be the 24mm but I hear that lens suffers from copy variations so it may take a few tries to find a good copy. Which Samyang lenses do you have? Also do you prefer the 5D2 more than the eos-m? A friend of mine recently bought an eos-m based on your videos. He left 4K and IBIS behind with the change.

You probably made the right move, both times. As far as Canon lenses, I've never used a better lens than a Canon L lens. Their IS lenses are as stable as entry level IBIS and even their earlier USM zooms are hidden gems for next to nothing prices. The same goes for their FL/FD lenses and even their c-mounts are hidden gems. The same goes for Nikkors. Their pre-ai, ai and ai-s lenses are the best value for the money, with an inherent "cinematic" look that can be adapted to anything. They're also marvels of mechanical and optical construction. My ai-s 35mm 1.4 is barely larger than an average 50mm 1.4 and if you compare that to more modern fast 35mm lenses like the Sigma or Samyang, it's pretty incredible the difference in size and weight. Although I said I don't really see the sense in owning EF lenses if their isn't a camera to mount them to, I am still considering cutting down my now modest collection even more with a Canon 24-70mm 2.8 zoom.

This is a completely broad reply to your thoughtful one, but with the release of the 1DXiii, it is pretty amazing what is available for filmmakers from every budget... for less than $400 you can have a used BMPCC, for $799 we have the Z-Cam e2c, for $1300 the P4K (with full Resolve) or the GH5, for $1900 we have FF uncompressed raw with the Sigma, for $1999 you have the Z-Cam E2, then the P6K, the S1H, ZCam 6K and now the 1DXiii. Every filmmaker, at every budget, has an option to make a technically good film with a DSLR/DSLM or small cinema camera.

Does anyone know the exact crop in the super 16 mode? And does anyone know how much battery life you get with the battery grip?

Three years ago, I was all in with EF but now, after my past few sales, I only have the 28mm 1.8 left. I plan on getting an old 28-105mm too as an all purpose crash lens. I may eventually buy an L zoom but if the EF mount is going to die within Canon cameras, I don't see the point in investing too much into their lenses at this point. I'll wait to see where the market settles going forward. With the Komodo using the RF mount, I wonder if that will be a future standard? Of course, for obvious reasons, I'm still adapting, or modifying, my vintage lenses to EF. That lens has such a short focus throw that it makes sense, I guess. I wonder if the Sigma art lenses have so many more to accommodate the different system's focusing methods? Interesting. Have you tested your focus protocol on any Z-Cam cameras yet? They've been threatening that camera for almost two years now. And if they ever follow through with it, I may consider going back to APS-C. The Z6 is an interesting possibility for me... as is the FP. The FP may even be worth a gimbal investment if the footage out in the wild continues in the direction it's going. And the ProRes Raw I've seen from the Z6 is definitely promising and has a slight edge since I'm an FCPX user. Yup, I have no idea why Atomos has not updated their Ninja Star, I would order that tomorrow and a Z6 on Friday. To keep this on topic, do you know if the 1DXiii can output its raw signal? At that price, you may as well add an Atomos recorder for a ProRes Raw option.

The sarcasm didn't go unnoticed. Lol. Weirdly, I never used an EVF when I shot mirrorless and most cameras that have these kind of specs, an EVF is an add on. Anyway, my point was that the entire photography market is a niche market anyway and mirrorless didn't kill the DSLR, the smartphone did. So, at this point it's all about preference. With that said, obviously I agree that DSLRs are dying a slow death and your most recent post from the Canon rep only enforces that. Of course, with their patent filings, you'd think Canon was invested in EF for the next decade or more. Now if my opinion mattered, Canon would release a video centric DSLR (or modular C100iii) with a hybrid OVF/EVF, an EF mount that shot a maximum of 2.5K internal raw with IBIS and DPAF. And why not, throw in an articulated screen. That sucks, I was hoping an updated USM 50mm 1.4 With IS was on the horizon. The mantra, raw video for everybody, sounds great until you're searching for hard drive space to back up your files. I love raw, but it is not for everybody or every production. At least with the 1DXIII, there is a middle codec that the C200 was missing.

While this is mostly true for the sports photographer crowd, it seems to me that Canon pulled a rabbit out of a hat and extended the niche to include C500ii shooters that need/want a B-Cam and indie filmmakers that were raised on Canon DSLRs but are looking for that step up in quality. I see this as being a huge rental camera. I also suspect that Shane Hurlbut, or someone, will shoot a feature film with it. They basically combined the 1DC and 1DX lines. If I were a richer man, I would order that camera tomorrow. But I actually like shooting with a DSLR. Canon's LiveView is like shooting mirrorless anyway with the extra weight a professional camera is supposed to have... with DPAF. I suspect I'll save any money I was planning on investing into a new camera and use it for an extended rental of the 1DXiii, unless of course Canon is ballsy enough to put raw video in the 5DV... a guy can dream...

Thanks for this. I just tried your settings with some of my ML Raw footage and it's VERY promising!. A couple questions though... 1. Do you have Luminance Mapping turned on? 2. With my footage, these settings cause the highlights (mostly in the skin tones) to blow out. Lowering the highlights in the Raw Panel cures this but with additional saturation added, they easily blow out again. Granted, the settings don't really require much more saturation (if any) than the default amount, but do these settings affect your footage in a similar manner?

@paulinventome those shots look gorgeous. What is your post workflow? I think an FP may be in my future if you keep posting more shots like this. Maybe @BTM_Pix will pick up an extra one for me when he heads Japan. Btw, that last shot is insanely good!!!

Happy New Year lens friends... I have successfully whittled down my collection to a reasonable number and after my shoot the other day, I took a few more shots with the Samyang 50mm 1.4. This lens has been on the chopping block so many times, I now root for it as the underdog of my collection, but as BTM has said a bunch of times before... Samyang lenses punch a lot more than their weight.

So raw has less DR due to lack of noise reduction? Downscaling reduces noise. No benefit in DR.

Thanks, he decided to be cautious and go with V90 cards.

I've had a couple crop sensor cameras with IBIS and in conjunction with a taut strap, it feels like solid handheld. If you have really still hands, widish angle lenses can fell like they're static tripod shots. My issue is that now that I've shot FF, I don't know if I can go back to a crop sensor. I'm in the middle of a few projects right now, so I really can't switch systems, but with the quality you're getting, the S1H is on my radar when I'm ready for an upgrade. How does the S1H compare to the FF Z-Cam?

Honestly, I don't follow the development pages too much. Occasionally, I'll check the downloads page to see if there is a new nightly build or a new experimental build, but since I'm in the middle of shooting my film, I don't want to risk anything and I don't have the time to experiment. With that said, I really appreciate what Danne and a1ex are doing. ML Raw turned my mediocre skills into beautiful images... to me anyway. And yes, I used the full 14bit raw with sound from the Nightly Builds page. I never had a single glitch and I am convinced there is more detail. The extra storage capacities of the 14bit Lossless was great but I cannot afford freezes or loss in detail. I am curious if I could use the regular full 14bit raw in the July 2018 experimental build and not have any issues, in case I ever want to shoot in crop rec mode for establishing shots. I may test that in the future but right now, I'd rather have the stability of the nightly build. In fact, the original build I used was from April of 2017 and I swear the focus peaking worked better than the newer build, so I may just go back to that build.

If you decide to switch to Panasonic, you can save some money and get the G9. It has better IBIS than the GH5 but a lot of the same features as the GH5 (10-bit, VLogL, waveform monitor, etc...) since the FW update.

Thanks it seemed like it would be okay, but I figured it was better to ask people who have a GH5. He wants to shoot in the highest quality mode in VlogL. He thought he needed V90 cards, which as you know are pretty expensive.