mercer

How many ML Raw shooters use LUTs to correct/grade their footage? My process has always been to run the footage through Resolve as BM Film Log to ProRes which I grade and edit in FCPX. In FCPX inspector panel, there’s an option to use a “Camera LUT” so while I was looking at some clips this morning, I tried the Arri LogC Camera LUT and it seems to work okay on some footage but since the exposure wasn’t intended for the LUT, it went wonky sometimes. Here’s a frame where it seems to have worked... As a reference, here is another frame from the same clip that I did without any LUT. I probably could have boosted the image more in hindsight... I guess I’m just curious if there is a simple way to expose for a LUT without having a monitor LUT available while shooting?

This should be an interesting challenge. I have a feeling that the person who finds and uses a 4K camera will do well with the members vote... even if BTM’s Flip Video footage is way more cinematic... resolution will go a long way and probably result in arguments regarding cinematic and mojo being made up phrases because they aren’t quantifiable.

Why not?

I think you can use any camera that currently sells for less than $200. But remember, if you come in last, the rules state you have to send the camera to the winner. So, if you’re willing to risk your camera, then go for it. If anything, that rule should inspire people to use the cheapest camera they can find, IMO.

Yup, same. With the 5D3, I get well over an hour... probably closer to an hour and a half. As usual, original Canon batteries last longer than third party. I haven’t shot Raw 60p yet. I am using an experimental build so I could give it a try but to be honest, it’s kind of a pain because you have to change a few settings in the menus to do it. With the regular nightly builds, I shot 48p 720p and I thought it looked great for the few times I’d need it.

Yes, CF cards. But what’s great about the 5D3 is that you load ML onto the SD card and record onto the CF, so you don’t have to have a copy of ML on every card you use like with other ML capable cameras.

Yeah, the waveforms seem slightly different between Resolve and FCPX. But yes, I have to trust the waveforms more I guess. Thanks.

With 14bit uncompressed Raw, I get about 12 minutes on a 64GB card. With the 14bit Lossless, it seems to be double but I haven’t used it enough to fill a card. The difference in quality between uncompressed and lossless seems negligible.

Thanks, one of the issues with the MacBook Air, is that it doesn’t have a 179 degree screen, so how I sit, or how much I have it open effects the look of the footage. It can make contrast hard to judge. It’s an EDMIKA Mount... basically the FD Mount is removed and replaced with a custom mount that’s designed to make up the difference in flange distance between the FD and EF Mount. I had the mod done by Simmod and had them declick the aperture and do a basic maintenance but they use the same kit you could buy directly from EDMIKA. The mod looks pretty simple, although I am mechanically minded. I just didn’t feel like messing with it since I wanted the lens declicked and relubed.

A couple shots from the Canon FD 50mm 1.2 L that I had modified to EF mount. The more I use the lens, the more I like it. I’m still flying blind with my MacBook Air. I am pretty set with lenses, so now I need to decide on a monitor/computer. Since these are all color tests just to look at the footage, I have time to make a decision before editing begins. I looked at some of my previous frames on my friend’s phone and they had a greenish tint that I’m not seeing on my computer and phone... I haven’t checked these, but I assume they aren’t exactly what I’m seeing... ugh.

@Geoff_L that sucks about the Z6. I’ve been there. Last year I had to sell every lens I was using to shoot my film for financial reasons. I had to reevaluate my entire shooting process and what mattered for my film. The good news about the 5D3 is that they hold their resale value, so you could always buy one, test it out and resell it if you don’t like it. If you do, you’ll have a hybrid photo/cinema camera that is almost as easy as a point and shoot to operate.

I don’t want to clog up this thread praising the 5D3... most people probably know my feelings about it. But I have never had any glitches with ML Raw on the 5D3. Also, even though 4K(ish) 24p is possible with the 5D3, I don’t really consider it usable... you may be able to get some static wide shots at infinity but for the most part, don’t count on it.

Yeah, it’s pretty amazing the fine detail the 5D3 is picking up. If this was just a comparison between the P4K and the X-T3, I’d have no idea the house was stucco.

I think the challenge is one cheap camera and one cheap lens.

Yeah, honestly, I don’t think ML Raw would be a great choice for your needs. 14bit Lossless has doubled my storage requirements and has helped tremendously but it’s still storage hungry. For instance, I get about 25-30 minutes of footage on a 64GB card with 14bit Lossless whereas I used to get 12 minutes. A 64GB card costs about $50-$60. With MLVFS, post processing is actually pretty fast now. So I guess, you could make it work depending on how judicious a shooter you are. Yes, I briefly was interested in the X-T3 and the P4K and the GH5... I like cameras and sometimes it’s strange only having one camera at my disposal but every time I come back from a shooting day and get those files into my computer, I quickly forget about other cameras. With that being said, I will most likely buy another Micro camera this summer. I really liked it when I had it the first time and being an FCPX user, shooting native ProRes will be a great alternative to ML Raw for some upcoming projects. As far as the M50, I liked the footage I’ve seen from it. I like how you can use c-mounts for a pseudo 16mm look when shooting 4K, or if 1080p is good enough, you get a S35 image with DPAF. You have a Z6, now? Why do you want to move to a different camera? With the ProRes Raw update coming shortly, I’d be pretty tempted to hold onto it and see how it pans out. Of course, I don’t know how long it will be before it’s available?

This is a great example of the beauty of ML Raw on the 5D3... coincidently this is @zerocool22 ‘s video so he could have some insight into his process. I love my 5D3 and ML Raw and have yet to find a camera I would choose over it. The OG Pocket and Micro are also great choices and the P4K looks to be a pretty great camera as well. But for me, there is just something about that FF Raw image that is undeniable. With that being said, it’s not for everybody.

@Mattias Burling that makes sense. I don’t care about winning, I see this as a way to mess around with some older cameras I’ve always wanted to test. In fact, the safe bet is to buy the cheapest camera possible since I could lose it if I come in dead last.

Okay, final two questions regarding rules... 1. I found a couple cameras that come with lenses but they’re over the $200 limit. If the lens could be sold for the difference, is that allowed? 2. Can we enter more than one video if we find multiple cameras?

Yeah I’d be curious to see that lens on the P4K. Have you had a chance to use the Micro... or any inspiration/ideas for a grip?

Love the mood. Are those stills or video frames?

Also, I know this is supposed to be for fun, but should there be some voting rules... 1. You can only vote once. 2. You cannot vote for your own film. 3. So this doesn’t turn into a social media popularity contest, like Rode Reel, you must be a registered forum user with at least... X amount of posts.

Or at least 30 day total so people can find a camera, create a project concept, shoot and edit.

I think this should be a 30 day challenge plus a two week treasure hunt for their camera... so 6 weeks in total?

Creating is the most important part but also being out of our comfort zones with equipment that has less frills than the marvels available to us now. So, sure one can buy a GX85, or already own one, for under the limit but is that really part of the spirit of the challenge? But whatever Andrew decides is fine for me... limitations force creativity.

I don’t have a C200 and have never used one but I think there’s an unfortunate trend that the extra 2 stops are more important than the 10-12 a lot of cameras already have. But that statement wasn’t an assessment or comparison between the C200 and 5D3 ML... it’s just a generalized comment about dynamic range.