mercer

@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.

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.