mercer

So when they released the M100 or the GX7 Mark ii or even the a1200 years ago, they were willing to pay these millions in licensing fees for 24p and obviously all a1200 users were no budget indie filmmakers requiring 24p per Canon’s market research. Now I am kind of a Canon fanboy but this is just ridiculous now and explaining away the desire for 30p is just silly. And I think you’re wrong, people love the idea that they can shoot their home movies in a similar way the professional Hollywood films are shot... in fact, Canon used that as a marketing tool for years.

I really don’t care what frame rates people shoot on but saying that 24p is only for cinema wannabes is so silly and goes against the entire point of the digital revolution in the first place. Cinema wannabes could easily say that people who shoot in 30p should just buy a camcorder because they obviously do not care at all about visuals so why both using an ILC. The reason for Canon omitting 24p from these cameras is way worse than protecting their cinema cameras... it is a sign that they are protecting their R line and what they don’t understand is that they’re taking away inexpensive options for young and poorer people to have access to an affordable 4K/1080p narrative tool. If they don’t have an ecosystem for these filmmakers to upgrade, why would they ever buy an R camera or a C series camera.

Shit... I have none of those things. How much does skill cost? My mistake, sorry.

Here’s the link to the site... https://www.back-bone.ca/rx0-mod/ If you have the company supply the camera and perform the mod, it’s $1399 for the RX0ii. If you already have the camera and just buy the DIY kit, it’s $399. Here’s a how to video for the RX0 DIY mod... This is the instructional video for the RX0ii mod... And here’s their promo video with some footage... The c-mount to d-mount adapter makes up the difference... I suppose since the mount width of d-mount lenses are so small, the adapter is inset into the camera. The video I posted above was shot with D-Mount lenses... so I assume they know what lenses they shot with.

You're right, which is even worse, but I just picked a round number. Yeah... nobody shoots 24p...

Yeah, the 90D is only showing 25p and 30p as well... Canon is nuts if they actually think they can sell a $1000 camera and not have 24p.

I don’t know if you’re familiar with the Ribcage Mod but it’s a kit you can buy to change out the stock lens on your GoPro to accept M12/C Mount/D Mount lenses. Here’s an instruction video for the GoPro 3... They also make kits for the Yi4K+ and even a kit that adds a Micro 4/3 mount to the Sony RX0. If you’re not mechanically inclined, the company will do the mod for you on a brand new camera they have in stock. I’ve been wanting to get one of these for awhile since I have a slew of old D Mount lenses and C Mount lenses. If the RX0 kit/mod wasn’t so expensive, I’d do it in a heartbeat. Here’s a video on their website from a GoPro with D Mount lenses... I can’t believe how sharp those old, Kern-Paillard D-Mount lenses are. I have a mint set of them collecting dust in my closet... maybe I’ll pick up a modded Hero 4 or 5 to give them a little go.

Shijan makes them. Really great stuff. If the BMMCC was going to be my main camera, I’d probably invest in the entire kit. Btw, he’s also the filmmaker behind the awesome boxer film you embedded in your original post.

I haven’t watched it yet either but here’s my guess... the Alexa’s 2K looks better than the BM’s 6K and whatever the Red Raven shoots at. Ok, I just watched the first couple minutes and became quickly bored when I saw that he wasn’t even using the same lens on each camera.

Native ISO is 800 on the Pocket and Micro and it has been highly recommended to only shoot at that ISO.

Please don’t advertise you’re an American, it makes the rest of us look bad. Hahaha... just kidding. I’m almost convinced Skip77 (and possibly ZachGoodwin2) are alter egos of somebody on this site having a laugh.

Thanks, Kye! I appreciate that. I know how important the details of an image means to you so I hold your opinion with high regard. Btw, I think it may be all of the above but it looks like my 5 lens collection just turned into 6... damn.

As I’m sure everybody knows by now, at the end of the shooting days, for my film, I get my lead actor to hang out a little while so I can test out a lens. I’m trying to have a lens or two for every one of my favorite focal lengths. The other day, after we filmed a scene, I wanted to give the Samyang 50mm 1.4 another chance and I’m glad I did. As BTM said a dozen times, Samyang lenses really pull more than their weight...

Sweet, I’ll see how my MacBook Air handles the files. I’m going to hop on the computer tonight and install the plugin while I still can. Lol. Does Red have a lot of sample clips on their site?

I do not believe that is true, otherwise I would be taking my MLV files directly into FCPX. However, I think Skip might believe that all Raw is the same, which we know it is not, just like he is confused with the stutter, judder, flicker 24fps debate. So, in short, I don’t think Skip is having the same conversations we are having and rather than acknowledging that, he is doubling down and grasping onto single words in sentences to save face. In other news, how did the Redcode files from the Raven get along with your computer?

Don’t confuse my lack of caring as “riding the fence.” I come to this site to learn and to discuss filmmaking and filmmaking gear, not to argue with people that are incapable of admitting when they’re wrong. 24fps has a stutter/judder, end of discussion. It is a fact! In all honesty, the word FLICKER, is probably a better choice, but with semantics aside, 24fps is anything but smooth. https://www.filmindependent.org/blog/hacking-film-24-frames-per-second/

I don’t know about that, but I get your point. The dynamic range is pretty great in that short.

Thanks, I guess I better get that plugin before Red forbids FCPX users to access it. Dont worry, I already went a round with that guy and I really don’t have the time, or inclination, to debate basic camera operations and the history of 24p in cinema with someone who will cherry pick one word in a sentence to try and prove his argument. Thanks, but don’t go too crazy, I base a lot of my opinions on mojo. Btw, I recently used the Samyang 50mm 1.4 on a shoot and I think I may have a hard time parting with that lens. Lol.

Cool, let us know how long the charge lasts powering the camera and monitor. I have the Ikan VL35 monitor for mine because I wanted to keep the set up as small as possible but if you’re getting good run times with the Focus, it may be worth the bigger monitor. How is the Micro HDMI Port on the Focus? Is it a flimsy connection?

@crevice thanks for posting this. I recently bought my second Micro. I still prefer ML Raw but it’s great to have a camera to use all of these SD cards with again. That French short film with the boy in car blows my mind every time I see it. The DR is great and the color grading is spot on. If someone told me that was shot on an Alexa, I would have believed them. If I could get my Micro footage to look that good, I may keep the Micro. As of now, I’m not so sure...

Yeah, I’m surprised the rope, on the far left corner, has any detail considering the amount of sky in the shot. Is the plugin part of the inspector, or do you drop and drag it onto the clip? Hahaha! Yes, please do! I know Red is public enemy number one around here but as a cinema camera, I suspect the Epic will have way better silkyshuddercodeshuttermojo than the P4K. It will be interesting to see a fair comparison from someone other than a YouTube influencer.

Yes, this is interesting. It doesn’t matter to me if the Komodo is in my price range for the basic fact that it will lower the used prices on their older cameras. And basically every camera they ever made still produces a relevant image. But if the Komodo, is around $3000... my next camera could be a Red. I assume it will be closer to $6000, though.

I don’t think I saw that video, I’ll have to watch it and find me some Redcode files to mess around with. Thanks.

I was going to ask you about this... I never knew there was a Raw Tab for Redcode in FCPX... AWESOME! Can anyone use it if they have some sample footage, or do you need to own a Red camera to access it? I wish I could convert my .mlv files to Redcode instead of .cdng.

Yeah, it is definitely interesting. The fact that they’re using the RF mount makes you wonder if they are licensing DPAF along with the mount from Canon. And if so, why would Canon want a competitor, in that price bracket, to have their two greatest tech accomplishments in the past 10 years? I’ll probably be laughed off the forum for saying this but I wouldn’t be surprised at all if Canon is the first company to offer internal Raw in one of their mirrorless cameras... so maybe it was some type of swap... RF mount and DPAF for compressed Raw.