mercer

The 1DC?

Yeah, I loved my eos-m with its 50mbps codec. And even the bitrate hack with ML is pretty good.

Yes, of course the man behind the camera can elevate any camera and isn’t that the point of this exercise? But I think some people would definitely use an eos-m and ML Raw and they’ll have a clear advantage. Of course, I’m absolutely fine with it because I already own an eos-m and this challenge will give me a reason to finally mess with the new builds and a c-mount lens... so I take it back... No restrictions other than price, please.

I agree with you about the price, I even mentioned it upthread. But I don’t think any hard rules have been set yet. I hope the lack of replies isn’t reflecting the interest.

I believe Ed David sold his Ursa Pro for a C300 Mark II and since he’s probably the most accomplished cinematographer that contributes to this forum, it should say something about the C300 ii.

I hope this happens. In fact, I’m a little surprised by the lack of replies. The older members would have eaten this up... But it seems the next generation of video shooters are only interested in resolution and auto focus.

Awesome idea!!! If I have a vote for rules to help even the playing field... no 4K, no Raw, no ProRes. So 1080p or less compressed codec. I like the idea of a price limit but $150 may be too low... there may only be 3 or 4 ILC cameras that would fall under that category. Maybe $250 or $300 or less. In the future you could do a P&S challenge, phone challenge, camcorder challenge... etc... Also I’d say make it manual lens only.

Yeah that’s a shame. Years ago I bought my first point and shoot that shot video from them... I think it was a Panasonic FZ or FX... something. Anyway, they used to run a promotion in the summer where you could make an offer on any camera they sold... I think I saved almost 50%.

Here are some more test shots from the Zeiss 25mm 2.8 ZF “Classic” lens... I’m in the process of picking out a new monitor, can anyone suggest the best/easiest/quickest color calibration tool... Spyder?

Idk, I love the stuff you shared from your C200. Whatever you were doing in the beginning seemed to be working... has your workflow changed? I used to color in FCPX, but then I started messing around with Resolve and because I could, I’d complicate my color workflow to its detriment. Now I’m back to using Resolve as a transcoder and basic Raw corrector... WB and exposure... and I’m using the color board in FCPX and I’m happy again. So maybe try a simpler workflow? Btw, I forget... did you ever test the Raw signal to 1080p ProRes via the SDI out? I’m still really intrigued by that. With all that being said, I really like what I’ve seen from the EVA1. @Zak Forsman makes his sing. Also, if you’re thinking about a change, I know some EVA1 users have a GH5s as a B-Cam and I know you were thinking about going back to a DSLR/DSLM form factor, so that could be an option as well... Or maybe even a 1DC?

I’ve bought stuff from 6 Ave. They are a brick and mortar store in N. Jersey... or at least they used to be... I haven’t been up that way in a while. But they sell Grey Market cameras. And the points are not cash back, they are credits to use on other purchases through Rakuten... I think. With that being said... that is a great deal and if I had a little extra cash lying around... I would seriously consider it. And with that being said, I’ve never purchased a big item from 6 Ave and I’ve never purchased anything through Rakuten. So I can’t vouch for them.

I shot a 48p 720p test on my 5D3 last year and was pleasantly surprised by it... That 50mm Nikkor is great piece of cheap glass. It pairs nicely with the 28mm f/2 because they’re both so contrasty wide open. Does the 4ak upscale in MLV App take a long time to process?

Those look amazing. They could be screengrabs from the film. Great job. What lens did you use and what is your grading workflow with ML Raw?

Messing around with some more footage from the Zeiss ZF 25mm 2.8...

Don’t be too modest, you shot one of the best 5D3 ML Raw videos out there.

Yup... his AF test, and conclusion, between the GH5, a6500 and C200 was the last video of his I watched.

Yeah, right... not to mention the matte box. I wish a company released a hood that had movable sides like matte boxes have.

I read the description of the Laforet video and I’m glad to hear that BM fixed the highlight rolloff issue that a lot of people complained about in the earlier models.

I rely too much on shallow DOF anyway. After watching Jaws, yet again, I really enjoyed Spielberg’s use of deep focus mixed with camera movement and blocking... so I may start exploring a slightly different style that doesn’t require AS MUCH shallow depth... so DPAF may not be as necessary. Since I am a one man band operator, I may look into a GlideCam or gimbal to get a little more dynamic, kinetic energy into my filmmaking. I’ll eventually rent a C200 but I don’t really have a need to right now but perhaps next summer after I’ve wrapped up these projects I’m working on.

I think he has made it quite clear that he is referring to Full HD recording and you guys just keep attacking him for it.

I’m working on some teaser trailers, so hopefully I’ll have some clips to show by the end of the summer.

I get that, who wouldn’t want more DR? I’ve just found, in most instances, 12 is enough for me. If I’m being honest with myself, which I try to, any limitation I currently have, has more to do with my own skills than the 5D3. Obviously, DPAF would make my life easier and smaller file sizes, but ML solved that with 14 bit Lossless and I’m getting double the storage now. I’m also slowly building a small, BMMCC rig for certain projects where ProRes LT or 422, to SD cards, is more than enough... plus I get to dust off my small collection of c-mount lenses. I hear you about the 5D4, I’ve been hoping for a breakthrough, but I don’t know if the interest is there. Everybody at ML seems more intrigued with the smaller cameras. I think I read that one of the guys has stopped working on the 5D3 to concentrate on the M50. To add about DR on the 5D3, I think the 14bit color offers a little more texture which gives the perception of more DR. For instance, in this frame, the texture of my actor’s skin would be way smoother with a compressed codec that had more DR than the 5D3 so, with my limited tech knowledge, I can only attribute it to the extra color tonality of 14 bit...

What dock?

Haha... it’s all part of the story.

Nikkor ai-s 35mm 1.4