mercer

Sorry, of course I’ve seen the ad and I fully understand the specs of the camera. I shoot run and gun narratives. I need my set ups to be inconspicuous so a large cinema camera doesn’t really suit my needs. But in a year or two, I will definitely own or rent one and I’ll shoot Raw or I’ll export the Raw signal via the SDI for 10bit 2K ProRes. Technically the camera meets the criteria for an in-house Netflix production, so I’m unsure why it wouldn’t be Broadcast acceptable?

I personally think it’s genius but if it doesn’t suit your needs, then sure buying one would be insane. The EVA1 is an amazing camera, and from the looks of that grab, you made a wise choice. Oh God... sorry but it is replies like this that has kept me away from the forum lately. You can use the camera all you want and I’d say it was a moronic decision to use this camera for event shooting or whatever work you do. Forum fairy tales... haha... you’re the one who sits around here and argues the benefit of using a Raw cinema camera for jobs that don’t require Raw and then complains that it’s not a good camera... Sorry... not sorry.

How is it a glorified C100 Mark III? Rawlite is its primary feature. If you don’t need Rawlite, then use a different camera but to say it’s something other than it is because it isn’t what you want/need is a bit unfair.

For sure... my comment/opinion was based from the parameters and results of his test.

Yeah I prefer the F Log as well. It’s way more dramatic looking. While the HLG looks like it could have been shot on a phone or a camcorder. Even the color tonality looks better with the F Log... in my opinion. Are there any HLG to F Log to Alexa LUTS floating around? If so, maybe that would have a better effect.

I think that’s a smart move. Now if you needed 60p Raw, then sure you’d need a different camera... at which point the much cheaper Micro would be a better fit than the not in stock P4K.

I thought the C200 had comparable DR? Regardless, I think if you’re in the category of shooter where you are using an EVA1 or C200, you probably can make gorgeous images with either.

It’s a short film and you already own the BMPCC... so... why bother waiting, until God knows when, for your P4K? Will the story of your short film be any better on the P4K? If anything, it sounds like you will have more resources to put towards the short film if you use the OG Pocket... it seems like an easy choice to me. To add... a lot of people act as if no camera existed before some of these new releases arrive but the BMPCC was a great camera 4 years ago and is still a great camera today. It’s been used in Holllywood films for pickup shots and edited with Alexa footage.

It’s funny how perspective plays into gear opinions. Being a Raw shooter, I see the C200 as a Raw cinema camera that has some 8bit proxies thrown in.

Was the lens used? If so, then it’s probably a different mount lens in an EF Mount box... if I had to guess. Post a picture of the lens mount and we can probably figure it out. Or the mount type may be stamped on the bottom of the lens or on the rear lens cap.

Hahahahahaha!!!!

I really love that look, about how much does the set up cost?

@heart0less that looks wicked. Great job. Would that set up work with EF? It should, I think...?

If I had to guess, I’d say at least 75% of the people that frequent this site would be better off with good 1080p than 4K and the idea of shooting 8K for interviews and weddings sounds like total and laughable overkill to me, unless needed for VFX. I get the idea of shooting 4K for clean 1080p but I’d rather watch a good story in dirty 1080p than a bad one in clean, downscaled 4K. I don’t know about you guys but I can’t say I’ve ever seen any of Nyquist’s films but I imagine they’re pretty boring.

Well, against a lot of folks’ recommendations I went with the Zoom F1 since I predict I will be using lavs to record the majority of my dialogue. I believe it will suit my run and gun needs better but I do want a separate field recorder for foley and the occasion that I want/need more tracks. Right now I’m leaning toward the H6. But since these instances will be so rare, the R8 could be suitable in a pinch. Plus the preamps seem to get good reviews. The price is right and I love the control surface capabilities of the R8 which I just found out is compatible with Reaper. Thanks for the heads up! This is a little OT but does anyone have any experience with the Roland R-07? I love the size and portability and the Bluetooth seems pretty invaluable for inconspicuous recordings on trains or in the public.

Thanks, I didn’t even realize that. Like you, for $60 I’ll gladly pay.

As a writer, I recently became interested in audio dramas and am in the middle of setting up a similar space for voice recording, except I don’t even have a closet. For an audio interface, I went with a Tascam but I may end up getting a Zoom F4 or H6 to double as a field recorder for my films and to make the audio drama recording more portable. My friend produces audio dramas and he uses a Scarlet. But @BTM_Pix ‘s R8 suggestion seems interesting to me as well. I’m not familiar with the product but it seems to be a decent compromise if you’re interested in both voice and music work... how well it would handle as a field recorder for my needs... I’m not so sure? As a DAW, I’d agree with @KnightsFan , Reaper is pretty amazing. I just downloaded the trial which is the full version but I think it’s only good for 60 days now and then it’s $60 to purchase... a really amazing piece of software for the money with some pretty wicked filters. If I were @kaylee I’d stick with the SM58 microphone. I went with the SM57 for two reasons... I like the look of it better than the 58 (silly I know but I tend to work better if I like the look or ergonomics of my equipment) and I was pretty impressed when I read that every US Presidential address has been recorded with the SM57 for the past 30-40 years. But the SM58 is truly a classic mic... especially for the price. Mic drops aren’t breaking that thing. Lol. Plus a dynamic mic will work better for the recording space she’s describing.

The h.264 update is interesting. Has anyone tried it out yet?

Unfortunately my G85 was kind of a dud. Well not quite as listed. I used it once in my backyard and although it’s a definite step up from the G7, every time I went to do some shots, I immediately grabbed my 5D3. I’ll just have to admire what you guys are doing with the GHa. If I get a few minutes before I return it, I’ll do a little test with it if it can help others who may be interested going that route.

I had that Tokina, such a nice lens... beautiful rendering. I have my Canon 28mm 1.8 and it surprises me every time I use it and I also recently bought an old Nikkor NC 28mm f/2 that seems almost as nice as the Zeiss. It doesn’t have the cool Duclos cine mod but I usually shoot wide open anyway and never use a follow focus, so the benefits of the mod are kinda lost on me. If anyone reads this and are interested in a basically new Zeiss 28mm f/2 ZF lens with the Duclos cine mod, I may be interested in selling it.

Has anyone ever bought an expensive lens and felt that it may be too good for them? I found a Zeiss ZF 28mm f/2 “Hollywood” lens that was Duclos modified for a fair price. I’ve always been interested in the Zeiss Hollywood lens, so I ponied up the money to buy it. After receiving the lens, I can confirm it is exceptional. It is a work of mechanical and optical art but it seems like overkill for my humble hobby. Has anyone else been in a similar situation?

The GH2 version sounds excellent! I REALLY look forward to that. Hell, I may buy a few used ones now because I’ll bet their value goes up when you start supporting them. Thanks for the workflow tips with CineLikeD. As I said, I’ll just use the freebie route once to test it with the G85. It would be great if you support it, I’d imagine the G85 would be a great B-Cam for the GH5... let me know if there’s anything I can do to help. As I’ve said before, I love my 5D3... somebody will have to rip it from my cold, dead hands before I switch to another camera for my “serious” projects. But I also have a bunch of ideas for small, short films that I would probably never get to with the 5D3... but with a G85, I can throw a c-mount on it, toss it in the backseat, hop on a train and create some content... it will be my glovebox hybrid cam for photos and micro short films. If I can get half of what Wild Ranger is getting out of his GH5, it will work perfectly for my needs.

@Sage I look forward to your Alexa footage. A side by side sounds like an interesting video to me. And a BM Micro Emotive Color sounds like a great idea as well... especially for how much they’re selling for used right now. I believe the Pocket and Micro have been referred to as Mini Alexa’s in the past, so they could be perfect candidates for your treatment. Funnily enough, I was going to suggest a GH2 version but I figured there was no way you’d be interested in that. My friend hung his 4K hat for a hacked GH2 for his next film, so there is still relevance there. And finally, I bought a refurbished G85 today because I really want to test your process with CineLikeD. I know it isn’t designed for that camera but it’s doubtful I will ever own a GH5 and this seems like a good compromise. But being a hobbyist, I’ll probably test the freebie method first and if it even moderately works, I’ll definitely be a customer. Are there any pointers for the freebie path, or do I follow the same set up/exposure instructions for V3?

But isn’t that the point... when a hybrid camera can be used for a feature film released in theatres, we are already there. Look at the X-T3... I’d be damned if that doesn’t look like a high end cinema camera. So the fact that it’s a hybrid is extremely relevant, don’t you think?