mercer

The eos-r exports 10bit. And unless Atomos has an exclusivity agreement with Nikon, I assume Canon may have a ProRes Raw export option in the future as well.

Yup, I could argue that Panasonic is the worst. Look at their 1080p... on the GH series... they offer all-i 1080p up to 60p at 10bit. Even at 8bit, it’s solid. But their G series, even the expensive G9, doesn’t offer that 1080p codec. The GH5s doesn’t have IBIS and is explained as not having it because one production company got some micro shakes when the GH5 was attached to a car rig... lol. Nikon won’t meter ai-s lenses or offer zebras on lower level cameras. Sony is using the same low bitrate 4K codec for almost 5 years now. All of the manufacturers protect their higher end, and some protect the sales of their lower end. It’s called business.

That’s really good news. What’s the highest frame rate you can get with them. Ever since I started shooting with a camera that requires CF cards, I have a dozen SanDisk 95mb Pro cards sitting around. It will be great to get some use out of them if I ever decide I want to pick up a P4K. Let us know how it works out. Good to know, thanks. I was actually fairly impressed with some of the LT I have seen from the P4K, so even if I was forced to shoot slow motion in LT with the SD cards, it makes the camera an easier pill to swallow for me. Good to know, thanks. I guess I vaguely remember reading about that when the P4K was announced but that seems like a lifetime ago. As a whole, do you feel the camera was worth the wait? And how barebones is your set up?

You should let me know how to do it. I’ve only shot MLV so I don’t know? Did you shoot your short film in regular Raw and not MLV? If so, is there a reason why? With MLV App, I keep it pretty basic. I turn off the Raw corrections because I found they take forever to render with them on and otherwise I will fix any WB issues and then choose LogC and tick highlight correction or whatever it’s called. Let us know if you do any 3.5K shots and how they turn out. I’d rather have the FF 1080p than a crop and a dodgy LiveView but I am willing to drop down to 12 bit if I could get a little extra resolution like 2.5K with minimal crop... but I don’t think that’s possible. I’m hoping they figure out the 5D4 so I can get some better slow motion options and perhaps a bump in resolution. For now FF 1080p Raw is more than enough for my needs.

Thank you! The actual shot turned out pretty nice. I was able to do a rack focus just as he appears in the window and since my story entails a symbolic union between ghosts and memories, even an over used rack focus can play into the narrative.

1.13 is fine. Do you still have ML installed on your camera?

You can shoot 4K ProRes HQ to the SanDisk Extreme SD cards?!?

Well regular crop just requires you to load the module that is already in the firmware on your camera. In the menu scroll all the way to the right where the module tab is and then click to load crop mode. When you restart your camera it will be loaded, then you just use the magnify button on the camera. I tried the experimental build but couldn’t figure it out. I had something set up wrong but not enough time to eff around with it, so I went back to the normal nightly build.

Do you just want the regular crop or are you looking to test the experimental 3.5K modes?

The C200 has a Super 35mm sensor... the crop factor is 1.4-1.5x. So the 20mm would technically have a FOV around 28-30mm.

@heart0less some of my favorite ML Raw videos were shot with the 5Dii. Check out Northmen on Vimeo for some beautiful samples. For the money, I think you made a great choice.

On your Leica camera? I’m not too good-like with riddles...

Isn’t the M Mount from a Leica camera.

Wowzer!!! Is that the Leica Look I’ve heard so much about?

Between a speedbooster and a dummy adapter, the 18-35mm seems to be a good, fast, all purpose lens for the P4K. How is the Takumar on the P4K in ProRes?

Well now I want to see how the 18-35mm looks on the Ursa because it does indeed look nice with the P4K. Nice work matching them.

At least you don't have to reformat the card every time you switch between Raw and ProRes. I vaguely remember having to reboot the Micro if I changed formats... but I may be remembering a nightmare or something. @Turboguard @BTM_Pix Thanks Anaconda!!! I just had the chance to take a look at these. The ProRes looks good... 1080p would probably be more than enough for my needs. Thanks for sharing them. Did you shoot them in Video mode or was that after a BM LUT was applied?

The Sigma 18-35mm paired with the Sigma Art 30mm 1.4 could be a good combo? The 18-35mm for your bread and butter and the 30mm when you need that extra half stop of light. But if you are thinking ahead to a possible FF mirrorless camera, then maybe the Sigma 24-35mm f/2 could be an option although you'll lose the wide end on S35... then I guess the Sigma Art 20mm could come in handy. Tough call... I used to only shoot cropped sensor and then when I switched to FF, I had to rethink all of my lenses. Now that I have that sorted out, it's hard to think about going back to a cropped sensor.

For a very long time S35 has been the goto for most Hollywood films, so instead of looking at it as a negative, accept that you're in good company. And in most cases, there is an EF option for a wide angle FF equivalent.

Well I think the C200 is the a Super 35mm crop, so it’s smaller than 1.6x crop.

Nope. I’m just a hobbyist that has nobody to answer to. I shoot 1080p Raw because I like the image and it’s more than enough to quench my hobby projects. I was just discussing the difference between needs and wants. Interesting topic but would probably stop all of this gear lust in its tracks.

It’s all relative. I don’t need FF 4K up to 60p at a low bitrate with paid upgrades. I don’t need a questionable AF system. I don’t need a camera that has possible overheating issues. But when I do decide to get another camera, I would like IBIS and I’d like to use my existing EF lenses with a dependable AF system... hopefully Canon offers all of these features in an upcoming model. But again, my original comment was just a statement against all recent camera releases. They’re just boring. Until these cameras offer internal/external Raw/ProRes they seem to be minor upgrades where picking your poison out of a hat is a valid reason to choose one over the other... or base it on the lenses you already own.

Well... the R has a beefier all-i codec. It has a Log profile without an added cost. It has the variable ND adapter option for EF lenses. It has a cheaper lens collection that will have an almost full lens selection by the end of this year. It has better AF. It has that sensor cover for changing lenses. I forgot to add that the IBIS is a positive for the S1. With that being said, I didn’t post that comment to create a debate between the EOS-R and the S1. I’ve never used either camera but for my needs I find the EOS-R to be more interesting but it still wasn’t interesting enough for me to buy but the RP could be an option when all the details are revealed. There was a hint it may have IBIS. If it has Canon Log and IBIS and is $1500 or less, I may be a buyer. And with that being said, I’m sure the S1 will be a fine camera... Panasonic rarely releases a turd.

There should be a small window between the Chinese New Year and before the President’s Day Mattress sales for this gimbal to drop.

When I end up getting a second camera, I’ll probably want something that shoots in 10bit but honestly... I can’t really tell that much of a difference between it and 8bit half the time... I think it’s psychological. Haha. The only time I can really tell is when the acquisition format is better... ie ProRes. If I’m being truly honest, I think a lot of these new cameras are boring. I think that maybe this generation of camera tech has peaked and anything going forward, in the foreseeable future, just proves the Law of Diminishing Returns.