mercer

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.

Hmm... are you talking right above his head, or further out to the right? I believe it’s just a darker portion of the cloud but now I’ll have to check to make sure. Thanks (he said sarcastically)

Your glasses, I’m afraid. This beach is where horseshoe crabs lay their eggs once a year, so there are hundreds, if not thousands of birds there. Speaking of, here’s a repost from the Canon 24-70mm f/4 from an early shot from my film that takes advantage of this time of year.

That’s pretty much my assessment too. The FD is a better built lens with better color separation, naturally, but the Samyang seems sharper, naturally, with possibly an easier path for me to get a more neutral modern look. Another plus of the Samyang, which seems overlooked in lens tests, is that it has some focus leeway between 15-30 feet... making it much easier to track your subject. Also, for the price of the Canon, I can have the Samyang 50mm 1.4 and 24mm 1.4... that has to play into my decision a little. Or a lot. Btw, here’s another shot from the Samyang that was taken at the same time of day, with a more similar grade...

Yeah it was nice to have. I bought mine way too early and there wasnt enough support (cages, small monitors, port add ons) to put together a useful rig for my style of shooting. Otherwise, I really loved the camera and could find a use for it again. With that being said, I’m unsure how much I would use the 60p and I wonder if the OG Pocket and a loupe would make more sense... it would definitely be the cheapest way to shoot ProRes LT. And then Z-Cam is supposed to release their E2C model pretty soon for $799 which will offer 4K ProRes up to 30p and 1080 up to 60p. I think with a possible Raw update in the future. A lot of choices. Haha.

But since I sent out the Canon FD 50mm L to be modified, I found a dirt cheap Samyang 50mm 1.4. And as much as I like the Canon FD, I'm unsure if I like it 3x more than the Samyang... Both were shot around f/2 and both have my hatchet job color grade... lol.

So, I received my EF modified Canon FD 50mm 1.2 L back last week. Simmod did a wonderful job. Luckily, I had a shoot day last week and I was able to get a few minutes in between locations to run off a few test minutes and here's a frame from that test...

Haha, interesting idea. I saw a Micro sell for $450 last month. I was about to order it after I went to the bathroom... let’s just say number two cost me one really cheap Micro.

That is a good deal... just make sure it doesn’t have any of the magenta issues that plagued some of the earlier models. In all honesty, with the work I have seen from you, a Micro and an Ursa 4.6k, may make the most sense. Why bother screwing around with hybrids if your intent is narrative filmmaking? Especially if you can afford it. Thanks, for the tip. Luckily I still have about 8 old SanDisk Extreme Pro Cards... the 95mbps ones... that are sitting around collecting dust. Weirdly, those cards and the money they cost me, at the time, is one of the reasons I am thinking of buying another one. I also have been crazy impressed with the ProRes films I have seen recently shot with them. And after looking at some of my older footage, I remember the appeal of those cameras. I still love my 5D3, but not every project requires the storage space and workflow required with ML Raw. Plus I have a slew of c-mounts lying around just waiting to be mounted onto a camera again.

I feel the same. That video of the fog looks great. The video of the boats man looks great... but they both look like they could have been shot on a number of different cameras. That BMMCC short is truly spectacular and there are so many narrative works shot with them... features and shorts. I think a new thread is in order showcasing narrative shorts and features from the BMPCC and the BMMCC. This way we’re not polluting this thread, while still showcasing very worthy works by the narrative filmmakers that shot on the earlier BM cameras. The image is more than relevant today and worthy of showcasing. In fact, I am seriously considering another Micro or Pocket camera. At the prices they’re going for... it’s really a no brainer.

The Micro was designed as a POV Action camera and since the film is supposed to be seen through the eyes of that character... his POV... I’d say they used the right tool for the job.

Thanks, do you know how BRAW 12:1 compares to ProResLT? If not, if you get a minute, and are inclined, could you run a test?

Do you happen to know off hand how many minutes 1 TB of 4K DCI ProRes LT are?

I wanted to watch this twice before I commented. And I think I want to watch it again, on a bigger screen, before I get too detailed. But I will say, I think you did a great job, Kaylee! I love the simplicity of your shots... compositions... the handheld static shot is very powerful. Your use of frame, not only in a shot but how it would edit with the next shot left me feeling sad for the characters. I also thought all of the FX were well done. It was cool to see your earth shot come to life as it did. Very cool!!! I think even after another viewing, the images and connotations will haunt me for a little bit.

Nice job, I liked the color a lot. If this is you studying, I look forward to what you do when you graduate! What lens(es) did you use?

Re-read my comment you quoted... I didn’t say to use Rec709... Rec709 is the default in the Raw Panel... or maybe it’s SRGB... either way, I was trying to explain how Highlight Recovery can give you a little more dynamic range in Raw than you would have in ProRes. This function is particularly useful if you have a light in your frame... especially the sun.

@Shirozina okay let’s backtrack a bit... your footage is noisy? Why? I thought the P4K sensor was supposed to be pretty clean? In fact, there are only two reasons why it would be noisy... 1. You’re underexposing it. Are you using ETTR? 2. You’re not shooting at base iso. As far as DR between raw and ProRes... I think I may have some side by side examples from some old Micro or Pocket footage... I’ll have to check my drives. Although, I would think the extra bit depth with Raw would make the idea of “perceived DR” pretty simple to understand. As far as Highlight Recovery I’m Resolve... have you ever used the Raw Panel? Bring in Raw footage that ETTR’d and you should see it completely overexposed with the Rec709 default... change it to BM Film and your waveform will drop but in many instances the highs will still be flat (slightly clipped) click Highlight Recovery and you get the top end back... it’s one of the best features in the Raw Panel.

I think I really just miss my Canon 24-70mm f/4...

Messing with some older clips from my Canon 35mm f/2. I think my older copy was sharper.

I think the 12bit color depth gives the perception of more DR. Take a shot of a tree in CDNG and ProRes HQ and the texture of the tree bark in Raw will look more realistic and defined due to the extra shades of color. I also notice it with it skin as well. That isn’t measurable DR but it definitely looks better to the eyes.

Well... I am from Jersey...

The C200 can export a 10bit 2K Raw signal through the SDI.