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The list is subjective as are camera choices. I’ve owned 2 BMPCC, 1 Micro, an EOS-M (ML Raw), a 50D and now a 5D Mark III and without a doubt the 5D Mark III with 14bit uncompressed Raw is my favorite of the lot... no contest. The BMPCC is ridiculously cheap right now so I may own a 3rd in coming months, but for me it would be a ProRes LT camera since I already have FF Raw. I’d rather have a Micro but even though you can buy one used for around $500, by the time you kit it out, it’s closer to a grand. And at a grand, it’s a tougher buy for me as a second camera. For me, I may as well spend a touch more and get a GH5 for its IBIS and plethora of other features. The Pocket/Micro are amazing cameras, they’re just kind of a pain to shoot with... too many workarounds. Beautiful images though. With that being said, I just made an offer on a Micro since I already own an Ikan VL35 monitor and a slew of c-mount lenses.

I think a lot of people know that.

I was inspired by Andrew’s post about older cameras and had a look at some of my old frame grabs from my D5500 and Tokina 24-40mm lens...

To be fair to what? Andrew’s article was complimentary to the P4K.

After reading this article, I was reminded that I never gave the 3.5K Raw a test on my 5D3, so I just bought your shooter’s guide. I’ve been contemplating a second camera for a while now and am hoping that 3+K mode in the 5D3 will keep me going for another year or so before I feel the need to upgrade. With that being said, some of my favorite ML Raw videos were shot with the Mark II, so I’ve wondered if it would be smarter to sell my 5D3, while it still has some meat on its bones, and replace it with a 5D2 and possibly something with a few extra features like a GH5. The options we have just 10 years after the digital/dslr revolution is truly amazing and it’s truly amazing how well the earlier options still hold up. Great article... it makes me want to pick up a used GH1/2 or D750.

@Zach Goodwin2 congratulations on writing a short story! Writing a coherent story isn’t easy. Now rewrite it... watch your tense, watch redundant sentences and change the ending so that his Dad died a year ago but still looks over him from beyond the grave through text messages... Haha. But seriously... rewrite, rewrite, rewrite. Then write another story.

Great post. I like how you linked the Alexa and early DSLR/Mirrorless cameras to the pursuit of a filmic image. With @DaveAltizer ‘s recent return to the 1DC and this post, I wonder if you have any interest in writing a 10 years later review on some of the original cameras that paved the way to the pursuit of that elusive filmic look and how they hold up today? Although outdated, I think the mjpeg codec adds a special meatiness to the IQ of some the earlier cameras... your hacked GH1 videos come to mind as a perfect example and it would be interesting to see how you would use these camera today. With the prices of the 1DC and C100 steadily declining, I must admit I’m tempted to give one or the other a try.

How do you like the E2? Also, have you heard anything about the E2C’s availability?

Do you have any graded video frames or info about the lens... why you like it... is it parfocal...?

With the FCPX issue, could a workaround involve using Resolve as a color corrector (LUT utility) and then transcoding the “LogC” files to ProRes for an FCPX import?

Thanks for the update but where can you preorder the e2c? I can’t find it anywhere.

Yeah, it is definitely relative but the weight without the added benefit of image stabilization makes it a little impractical for me. But as you suggested, it’s really 3 primes in one, so the convenience factor is a definite plus. Right now, I’m only looking for the Samyang 24mm 1.4 we’ve spoken about in the past while I sell off a bunch of unneeded glass. Then I’m going to reevaluate what I have left, and what I need based on upcoming projects, including the Samyang and see if there’s anything else I can get rid of... Then... I may look into replacing all of my 28mm lenses with the Nikkor 28mm 1.4. That has been a dream lens of mine but a little too pricey for my meager skills. But if it’s my only 28mm, it may be doable. My ultimate goal is to have a small EF set and then a few of my favorite primes of varying focal lengths with the ultimate goal of 10 lenses or less. I’d love it if I was the type of person that could get by with a Sigma zoom and a prime but I just don’t know how realistic that is.

The locations in my film are in some ways characters in and of themselves, so I’d rather not divulge the specific locations. I’m sure you understand.

I didn’t even realize how many jewels were in my backyard until I started searching for locations. Now I find an interesting place almost every time I go out to shoot. Thanks, nature helped me out here as this was nothing more than some saturation added. In the summer months, storms roll in and out of these small bayside communities and the cloud formations are amazing. One of my favorite aspects of ML Raw is how it renders skies. I sometimes wish for a little easier of a workflow but at the end of the day, I cannot deny the image benefits of 14 bit uncompressed Raw. Even 720p ML Raw has some special image qualities to it... 1080p is really more than enough for me... with Anamorphic, 2.5K is possible with the normal build and the experimental builds up to 3.5K looks pretty amazing. I think I’ll test it this summer.

@BTM_Pix that 7artisans looks great. If I ever get back into mirrorless, I’m definitely buying the 35mm 1.2. I’d love to see them release a fast 16 or 20mm. I’ve contemplated that Sigma zoom for a while now and if the price was a little cheaper, I’d give it a go but as is, it’s just too big and heavy. I’ve also read that the 24-105 f/4 zoom is great considering the boring, utility aspects of that focal range of zooms. But paired together, they could make a good two lens set up... the 24-105mm for run and gun daylight and the 24-35mm when you have a little more time.

Thanks zero! I was pleasantly surprised by that lens and I still love my 5D3 but I must admit, it is tough sometimes... I am not that great of a colorist and sometimes I think a GH5 or X-T3 would be a lot easier to get that sharp, modern look. I’ve never measured it, but the 5D3 with ML Raw seems to have 11-12 stops which is usually more than enough for my needs. As you know, the biggest issue is chroma noise in the shadows but with a faster lens and one of those MX-9 Aputure lights, it’s not horrendous for a run and gun, handheld set up... and usually with a little crushing of the blacks, the chroma noise will disappear. But yes dynamic range is not why you would choose this camera. Btw I still watch your “Wolf...” ML Raw film on occasion... and it holds up beautifully. That location is a little beach on the Delaware Bay in southern New Jersey. It’s a tiny, old fishing village with tattered remains of piers and docks. People still live their but the commercial aspect of the village is just a ruins of memory. I posted a frame or two from this location before... The last one is obviously in the winter but you can see how desolate the location is from the opposite angle. To stay on topic, that last one was shot with an old Minolta MC 35mm 1.8. I bought it with the mount modified to EF but the focus ring is jammed at 3-4 feet so until I get it fixed, I can only shoot close ups with it... awesome lens though.

Here’s a shot from the Nikkor 28mm f/2. It’s the older non-ai version. I can’t stress enough how much I love wide angle close ups. I’ve been spending some time trying to find the best 50mm but I think I should be on the lookout for a great 28mm. Any suggestions?

Or have her fall in love and screw her first cousin.

Yup, I bought my Samyang 50mm from them and if anything they undersold it in their description. It was my first purchase from them and it was a great experience.

I have a plastic fantastic coming in the mail today... the Canon 24-85mm 3.5-4.5. I paid less than $60 for it. I’m hoping it matches well with my Canon 28mm 1.8 for a two lens set up. The flickr samples look pretty good, has anyone ever used it?

I checked the file and it seems to be a bird. Here’s a lighter grade from the same shot... It’s higher in the clouds now. I wish this lens was a touch cheaper... I really do like how it renders.

What’s really cool about it is that you can record your son in regular motion and the push the button in the middle of the recording and it will slide into slow motion during the same recording.

Yeah, or the FZ2500 to match @kye ‘s GH5. The FZ2500 is a great little camera and it has one of the coolest features that some old Super 8 cameras had... touch button slow motion... so you could shoot at 24p, then push and hold a button and it goes into slow motion, or fast motion if that’s your thing, until you let go of the button. Plus the Tracking AF isn’t... horrible.

@BTM_Pix the blue cluster is definitely birds. And I think the one in red is just a darker portion of the cloud... but I’ll test it tomorrow on a white sheet of paper to make sure. Thanks for the heads up.

I agree. As appealing as a shorter flange distance sounds to open up lens opportunities otherwise. It possible with the EF and F mount, there were just too many lenses in their collection to question if a new mount was worth it. I don’t have a huge issue with adapters but I used them for so long, it is nice to have native lenses and so far nothing about the price of these new lenses are enticing. I actually like the features and IQ of the EOS-R but I don’t see myself investing into the RF line, so I’m hesitant to buy an R camera. I have a friend that’s also a filmmaker and he outright refuses to use any non-native lens. In some ways it could have made more sense for Canon to rerelease the FD Mount than to create an entire new mount. In fact, I wouldn’t be surprised if Canon releases a FF mirrorless in the EF mount within the next couple years.