mercer

Yikes... maybe I’ll just save up for a Komodo.

Did you laugh when you heard the price? I suppose there’s more to the L-Mount alliance than just sharing a lens mount. So I’m assuming it’s the same or pretty damn close to S1H prices.

Slightly OT, but how do you like the GH5s? The prices on used models are starting to get to a level that interests me and I have seen some really nice stuff shot with them. External recorders are a hassle but I have seen some ProRes 422 from the GH5s and a Ninja V that looks great. The weight of the image seems way better than the internal codec gives... although I like the internal MOV as well.

I assume you can’t really say but I also assume it’s a lot more expensive than we hoped?

Based on the cameras chosen... the C300ii and EVA1, it seems that a Raw export is required for the BRaw process to work... or it’s the simplest for now. I could be wrong, but I don’t foresee the major camera manufacturers giving too much access to BM, a competitor, so I assume BRaw, in these recorders, will be limited to cameras that already have a Raw export feature. The FP could be interesting since the CDNG files will be exported through USB-C to an SSD. But those recorders are so huge, it makes the design factor of the FP being the smallest FF camera, kinda pointless. I wonder if BM can transcode CDNG files into BRAW in a future Resolve update. It wouldn’t make production media storage smaller but for post and archiving it could help.

Exactly, so BRaw for the GH5 wouldn’t be as simple as BM making a profile, in fact it’s probably impossible unless they’re working on HDMI Raw signal as well. I wonder if BM has to work with the manufacturer to do this. Do they need approval or can they just make any camera that exports Raw compatible?

I assume any camera that’s compatible will have to output a Raw signal. I wonder if braw is only through SDI.

When it gets caught.

Yup, that’s my understanding. Now I do not have a C200, so that information is second hand. But I’m sure it’s in the manual as a footnote.

Just a heads up... it is my understanding that DPAF does not work through SDI to external recorder.

I always love your ambitious posts and plans, Kaylee! I wouldn’t even attempt something like this at my level but I always believe you’ll pull it off. Are you using your 5D3 for this or is it part of the iPhone project you’re working on?

AF seems like an odd feature on these higher end cameras (Canon and Sony) because who is buying a $15,000 cinema camera and putting a $400 lens on the end of it for AF? I guess speedboosters (is there one for FF E-mount) open up some medium format lens options but that’s a category that only a very few will get into. Interesting time for cameras though. I almost wonder if there is going to be a new market for sub-$3000 cinema cameras... not including Blackmagic.

True... that would require some creative art direction... “In a world where the colors yellow and blue do not exist...” ?

I’m waiting for Canon to give me a reason to shoot with their cinema line. Eventually, I’ll buy a C200 because a lot of the pitfalls of the camera will be irrelevant for me, especially once the price gets at/below the $3000 mark. However, their lower tiered cameras and the features they do, or do not offer, just doesn’t make sense. In fact, the specs are so odd, they almost seem arbitrary. I hope they do and deep discount the current models. The FS5ii with its Venice color and external Raw would be pretty damn tempting at $2999. That would allow them to price an FS5iii at $4999 and the new FX version at $6999, give or take. That’s a really good upgrade strategy. Probably not with the FX series since they’ll most likely be priced for different shooters but I’m sure the FX cameras will have something obvious that Canon should have included into a $16,000 camera.

@deezid Can you shoot with a warmer WB to compensate, or even tweak the WB Matrix like you can with Panasonic MFT cameras, then correct in post?

Well... the C500 is pretty well featured and pretty affordable for what you get. Look at any reality show or documentary show on Discovery channel and they’re all using a C300 Mark II. These two new Sony cameras will have the same price tag as the C500ii and C300ii or if they’re cheaper... it will be a minuscule difference. I wonder if they’re going forward with the FS line and will they discontinue the current models or price reduce them.

? I can’t wait to hear more. After spending a half hour on their website the other day, I was floored about this camera. I just hope the price isn’t what I suspect.

I’m definitely the odd man out here and I wouldn’t recommend my methods to many but I don’t do this for a living and I don’t presume to, so I can move at my own pace with the little equipment I need to tell the stories I want to. Want vs. Need has become an importantly simple concept in my decision making regarding filmmaking. When I stopped chasing equipment and put need in front of want, I found that my wants and needs are actually pretty similar. Eventually I’ll need to upgrade to 4K or 6K but until I can find a tool I am comfortable using, that helps me tell my stories, I am perfectly happy with what I have. To be honest, I never thought I’d ever get as good of images that I am getting. And... if 2K is good enough for the Alexa... then who am I... Are you looking at the S1H as well? I know this is a thread about Canon but man does Panasonic piss me off just as much sometimes. Every time they release a camera that I want, the price is just too high for me to justify for a hobby. And to keep this on topic... I don’t even care why Canon has omitted 24p... they did... so these cameras are now a non starter. Which is a shame because I have always loved Canon’s soft look.

It’s just a camera... no war necessary. I went down the 4K path with Samsung, Panasonic, Sony, and Canon and didn’t like my images until I started shooting 1080p Raw on the Micro. And then I preferred the ML Raw from the 50D I bought for the hell of it. I was all set to preorder a GH5 until I stumbled upon some 5D3 ML Raw videos and I never looked back. I thought the P4K would be my upgrade but I haven’t seen enough, knowing my skill set, to convince me. I recently ended up buying another Micro for pretty cheap but I find myself reaching for my 5D3 every time I do a test, or plan to shoot something, so I may sell it to fund a short film. As I said earlier in the thread... when one of the major manufacturers offer internal FF 4K Raw, for $2500 or less, I’ll upgrade. Until then, I’ll stick with my 5D3. If I can’t make a decent film on 14bit FF 1080p Raw... no amount of resolution or sharpness, will help me.

I sometimes miss the simplicity of shooting with a P&S. AEL and AFL allowed such artistic freedom where the frame was all that mattered. The XC10 built upon that a little with gorgeous Canon Log 1080p. The Panasonic FZ2500 was almost better. But once I got bit by the ML Raw bug, it was hard turning back to any compressed codec. I love that short piece you did. The color was gorgeous and the DR was more than enough. I particularly liked the detail on the shed door. If Canon would release a sub-$1000 camera that has IBIS and Canon Log (and obviously 24p) they would end up selling more of their higher end cameras, IMO. I understand the point of holding back some features... all of the companies do it, but no 24p... it’s just nonsensical. The 5D3 has an OLPF and a faster buffer so aliasing and overheating aren’t an issue, but I love ML Raw from the 5D2. Some of my favorite ML videos were shot with that camera. I don’t know if you’ve seen any of this guy’s work, but he makes 5D2 Raw shine... Everything except the drone shots is 5D2 ML Raw... He has a bunch of videos that I highly recommend.

@Eugenia I’ve been reading your blog since your Canon P&S days. I learned a bunch back then, so thanks. I have a 5D3 (ML Raw), a BMMCC, and an old eos-m, I don’t really use anymore. I passed on the M50 to see if this generation of cameras would have 4K and DPAF... I was excited to hear that they did... but then when I learned there was no 24p... I was completely dumbfounded. I still love my 5D3 and feel no need to own a bunch of cameras, so I probably should thank Canon, because they just saved me some money. I’m keeping a hopeful eye on the Sigma FP’s price and if it’s something I can manage, I may replace my BMMCC with it and slowly build a kit while I finish my current projects on my 5D3. If the price isn’t right, I can happily shoot another 2 years with ML Raw and save my money for the first major manufacturer to give me internal Raw at less than $2500.

I was just looking at the product page more thoroughly and I really hope this camera is in my price range. Any new whispers? I’m really curious about the 8 and 10 bit Raw and the director’s viewfinder function.

I prefer the exposure meter and would try to underexpose by a half a stop or so with CineLikeD... I found there was better color depth that way. But in the end, it was shot dependent... expose for your subject and when you can... protect your highlights.

Yeah, it’s so dumb, it almost seems like it may be an arbitrary decision and not intentional crippling.

A C100 Mark II sounds like a great option for you and if you don’t mind used cameras, you can save some money on it as an interim camera until the market shakes out. I’ve seen a few sell for around $2000 on eBay.