mercer

No truer statement has been posted but I think since Oliver was seriously considering the C200 for a few seconds, that it kinda bled over into this thread. With that being said, I think the EVA1 is an amazing camera and with @Zak Forsman ‘s EVA1 price drop news, the EVA1 becomes even more attractive to me and I’m sure to anyone contemplating a C200 or FS7. However, a lot of you guys could shoot in Pixelvision and get a great output. I’m not saying the middle codec isn’t important to a lot of productions... I’m sure it is. With that being said, I don’t think I am properly getting my point across, so I will concede to your knowledge of the needs for the professional market. As a hobbyist, narrative filmmaker, I’m obviously out of my depth here and have no inner knowledge of the Greek broadcast production standards. But I never said I couldn’t afford a C200, I merely said that it doesn’t fit my run and gun production needs at this time. When and if I am in the market for a cinema camera, the internal RawLite from the C200B will be a contender, as will the 5.7K Raw output from the EVA1 and the ProRes Raw output from the FS5/II. @Zak Forsman have you tested the Raw output from the EVA1 and if so, what are your thoughts, or better yet, do you have any clips to share?

I know Nikkors turn the “wrong way” but it seems more natural to me. I don’t know if it’s because I’ve owned so many lenses that turn that way, so I’m just used to it or if my brain wants infinity to turn toward the right. I have more trouble with my Canon lenses. Luckily I can adjust my muscle memory fairly quickly that it’s never an issue. I’ve also learned to yell “action” well after I hit record. I actually like 50mm lenses. I’m kinda obsessed with them and definitely have tested more 50mm lenses in my life than other focal lengths. But with my love affair with the Nikkor 35mm 1.4, I’m unsure if a 50mm would add much more that I couldn’t get with a quick camera replacement than a lens change. As I shoot more and more, I am really enjoying this one prime lens concept. As @kye suggested, I am really getting a feel for composing for specific projects based on subject/thematic material. Plus it lets me find and use a few gems from different manufacturers. Of course, lens tests can become just as much of a hobby as filmmaking can be. In fact, one of my goals for 2019 is to produce more films and one of the ways I want to go about doing that is to make micro short films. So when I do get a new lens that I like, I will instead make a short film with that single lens, instead of just going out and doing a test. By doing this, I’m hoping my eye will become more trained while I also get more accomplished. With all this Nikkor talk, I figured I’ll flip the script with another framegrab from the Canon 35mm f/2 shot from my film...

Ok, it’s a glorified C100 Mark III. And if those people are buying it to shoot 8bit, then more power to them. Maybe that shows the versatility of the camera. In fact, I do see a lot of people posting samples of their work on IG that they’ve shot in 8bit on the C200 for clients... they seem to have a lot of projects... so maybe the whole 10bit “middle codec” thing is blown out of proportion around here and the C200 is a way more capable camera than even I give it credit for.

Cool video and interesting. It seems the screen and the motherboard would affect the size the most? Is it possible to slice the motherboard into two pieces? As far as the heat sink, I wonder if one of those aluminum block cages for the Pocket, plus ventilation holes, could double as a heat sink and camera exterior? Also could one of your Raspberry Pi screens replace the screen? Obviously, just thinking out loud here but it does seems like a cool project.

The BMPC 4K or the Ursa Mini 4K would be a logical 4K option for me since I have a growing collection of EF lenses... unless Magic Lantern unlocks the 5D4. For the money those forgotten BM cameras really cannot be best. I just watched some BMPC4K footage and it really is special looking. Too bad the form factor seems kinda annoying... I wonder how hard it would be to put the sensor and internals into a different body that is hooked up to Sony NP batteries... maybe a Micro/BMPC4K Frankenhybrid? Lol.

Doesn’t the Ursa Mini 4K have the same sensor as the BM 4K Production? I’ve seen some used ones go for less than $2000.

You run on a Mac don’t you? iMovie has a beautiful grain... so much so that the default grain filter in FCPX is called iMovie Grain. I think it’s a leftover from iMovie HD days. But I guess rendering out a copy of your film through iMovie just for the grain would be as appealing as licking a hyena’s butt crack.

It’s funny, I prefer the Canon 28mm 1.8 over both the Nikkor and the Zeiss ZF. What it loses in sharpness, it gains in character. I originally went with the Nikkor 28 f/2 for my Nikon set because I didn’t think I’d find a 35mm 1.4 for the price I wanted to spend. And then I saw some Flickr samples of the 24mm and I regretted the 28mm purchase. I agree about the 28mm on a crop sensor... with a 40-45mm FOV, it’s a beautiful lens. I may skip the 50mm altogether. I was looking for the cheaper 55mm 1.2 but have already been burnt on two poorly described copies. The 50mm 1.2 is interesting but since I’ll use the 35mm most often, it may make more sense to save up for the 85mm 1.4 for close ups. Of course, I’ve recently learned how many films that were shot with a single prime lens and I must admit I am intrigued by that idea. I believe Polanski argued that the viewer can become more immersed into a scene when the perspective doesn’t change. So it is quite possible that I may just keep the 35mm 1.4 and then maybe the 24mm for those times where I need the width. But I really like the versatility of a fast 35mm. I also have an EF modified Minolta MC 35mm 1.8 that I adore. I’ve been looking for a 58mm 1.2 to go along with it but I’m too cheap to drop $500 for a good copy before I even pay for it to be modified.

Yeah, me and the GF are trying to keep our eyes open until midnight... another 3.5 hours to go in my part of the world. We may set an alarm just to give us enough time to guzzle some champagne. Have you tried grain overlays? I believe Noam Kroll May have some custom ones.

How about using FilmConvert with just the grain added?

Yeah, I think for that money I would search for a used Digital Bolex instead.

@Nikkor I’d have to agree with @HockeyFan12 ‘s assessment. The 28mm f/2, even the SC version that I have is pretty nice and clean wide open. Whereas the 24mm f/2 is kinda funky wide open, as he said... similar to the 35mm 1.4. But both have a ton of character. I was surprised to find that the 24mm seems to have more Pop than the 28mm but I only messed with them side by side for a few minutes. I really need to do some further tests. I’m hoping the 35mm 1.4 I just bought is in as good of shape as the seller stated. And if that’s the case, I’ll probably sell the 28mm and go with the 24, 35 and eventually pick up an 85mm f/2 and maybe the 105mm 2.5 or 135mm f/2. I think the imperfections in these lenses wide open are really part of their charm. A couple months ago I bought the Japanese market version of the 50mm 1.8 to replace my Series E and even though the Nikkor gets way better marks, I found the Nikkor to be too good and kinda boring looking.

Yes, but I will definitely return or sell the odd balls I don’t like... of the t-shirt.

Different lenses... I love the Canon. The IS seems as good as the IBIS on the GX85... so that is a huge plus. I’m looking to have two small sets... my Canon lenses for run and gun and a small set of Nikkors for monopod and tripod stuff. I was really testing the 24mm vs the 28mm f/2 sc Nikkor. The jury is still out on that one. I emailed Roland at Photosynthesis and he is going to put me in touch with some collectors about the Nikkor 24mm. With that being said, I did like the lens. I also just ordered a replacement 35mm 1.4... so we’ll see... lol.

Had a chance to get a few shots with the Canon 35mm f/2... And here’s one from the Nikkor 24mm f/2 ai-s... That last one could have used a little more diffusion on my Aputure M9 (awesome little light btw) but you can still get an idea of the characteristics of the lens wide open.

The E2C could be good. I wish they decided on 4K 60p or 1080p 120p but for $799 with ProRes and Raw out of the SSD/USB-C... I guess who can complain. Hopefully, the h.265 will be all-i at a decent bitrate.

@Emanuel I like Don. He speaks his mind and I respect that. Anybody who describes the Osmo Pocket as “the best thing since sex,” is alright in my book. Haha. I don’t visit the forum as much because there is way too much vitriol on these boards. People get way too angry over camera choices and I tend to get sucked into that energy... today being one of those instances. Plus I have been investing a lot of my free time into working on my film projects and that leaves little time to argue/discuss on a forum. But this site has been a daily visit for me for a long time, so I still read a little, I just do not have the time or energy to post as often... by your statement... it must be a more civilized place without me. With that... Happy New Year!

Good Lord, I think you took that a little more personally than intended. I was merely asking if you owned the camera. I know you have had strong and similar favoring opinions of other cameras that you haven’t owned... so I was curious if this was a similar case. I don’t need to defend Don, he can do that for himself. I’ve just noticed a strange anger in favor of the P4K from you lately. As far as Jon is concerned, I’m sorry I am not following you... perhaps your point was lost in translation. As far as me speaking for or against the P4K... I honestly dont have much to say about it, I prefer the OG Pocket and the Micro. But I will concede that those are very easy cameras to operate as far as the camera’s interface and it seems the P4K follows suit. The problem with the P4K, as was the problem with the BMPCC and BMMCC before it, are the peripherals needed to make the camera more usable for your average shooter. Even if you look at the Pocket’s history... it was a very popular camera that was quickly abandoned by a lot of shooters due to poor battery life, the need for an IR filter, the need to be a decent colorist to take advantage of BMDFILM, etc... I believe that was what Don was referring to. And sorry, you chasing him around the forum to call him out on his opinion because you have some sort of self proclaimed noble cause, speaks volumes. And you puffing your chest at me based on a simple question... well... HAHAHAHA. I honestly wish you luck with your P4K. As I understand it, you are interested in narrative filmmaking so I look forward to your work.

I was referring to ProRes, even just LT, in the new $799 one. I’m also pretty interested in this camera. I really like what I’ve been seeing. I don’t know if I want to 2 grand for the E2 model though.

Any word on a future ProRes update? I’ll buy that camera tomorrow if it will have ProRes or something a little extra.

That is interesting. If they do that, I hope they offer some variant of ProRes... even if it’s just LT. I was about to post that it would be smart for them to do a fire sale during CES or NAB... one day only 50% off the E2, but this could fit the bill instead... smart move.

@Emanuel with all due respect... do you even own the P4K? Do you have any footage to show? Do you have a photo of your rig? I only ask because you come here and attack @webrunner5 for having a valid opinion about the P4K and state the same reasons you love the P4K that you stated about the GH5, which you never owned and about the X-T3, which you never owned. So if Don can be criticized for not liking a camera he’s never owned, I think you can be criticized for praising cameras you’ve never owned. But to a greater point... why does one camera need to be better for everybody? We all know my choice of camera and I understand being excited for a camera purchase and if you have the P4K, I wish you luck with it, but there have been cameras before the P4K and there will be cameras after it. I am personally more interested in the evolution of this Z-Cam and the X-T3 than I am with the P4K. That doesn’t mean that the P4K is a bad camera... quite the contrary. It is a great camera at a great price but hardly the best camera to ever grace cinema.

Yeah, if the a7siii isn’t a small MP camera, I don’t really see the point of it. 12-14mp and 10bit 4K up to 60p (preferably 120p) and that camera is a winner. If it has better IBIS and Venice color, then win-win. With 10bit, sLog3 will be a more production viable profile that will have the best usable DR of any of its competitors.

Well, my reply was based on Kisaha’s comment that the specs didn’t meet broadcast standards. I took that comment to mean the codec, bitrate and general IQ were not up to par... not if the features were conducive to norms of production for broadcast television. But he also did not say that he was shooting TV narratives... so I can’t really answer your statements. I agree the color is slightly different compared to the C300, 1DC and even the C100 Mark I but I find it pleasing and it keeps with the notion that Canon has a superior color science... maybe not quite what we’re used to with the Alexa but good nonetheless. I also agree that I like the EVA1 color as well. It’s definitely more Varicam than GH. For me, if I were to choose one of these cams for a low budget narrative, I’d go the C200. Based on specs alone it seems like a camera that will get out of my way and fit better with my small but beloved EF lens set. But as I’ve said, I acknowledge the camera isn’t for everyone (what camera is?) so I totally understand why Oliver and others have chosen the EVA1 or Ursa Pro or whatever over it. And when it comes time for me to take that next step, via rental or purchase, I may do an about face and go with a different camera. I have been very fond of the Raw image from the FS5 and with the price coming down on used models, that may make more sense when the time comes. And by then, the Mark II with its Venice color may be an option with whatever project I am working on... most likely a container thriller where I am shooting with a more traditional set up and crew.

Well that’s my point, you are firmly stating the C200 is a failure but you don’t need or want what the camera was designed to do... shoot Raw. And then you are stating you’re waiting for the C100iii but you have it with the 8bit codec in the C200. Sorry, I’m just not following your logic. Regarding my camera choice... I’m very happy shooting 1080p Raw with my 5D3. As far as the P4K... I’m just not feeling it. I’ve seen some great stuff shot with it, but overall, I don’t think the footage looks all that special. I’d rather shoot with the Micro for half the price if I ever need 60p Raw... or spend the same money on a rental of the C200 for 10 days. Storage is cheap, I’d rather have the DPAF, built in NDs and other benefits of the C200 over the P4K. With that being said, I totally understand why Oliver chose the EVA1... it creates a beautiful image. Just from his grab alone we can see that... or any footage Zak has posted. If I shot anamorphic, the GH5/GH5s/EVA1 would be a go to choice. I even love the Raw out of the FS5 or the internal 10bit 1080p and could see myself going that route instead of the C200. The right camera is out there, it just depends on the needs of the project. Thanks for the well wishes, I hope to have some teasers to show in the next month or so. I’m even starting another feature in February so hopefully a lot more to show in the coming months.