mercer

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?

I think it’s a great workflow and I may be testing it with a lesser Panasonic camera very soon.

This. It is truly amazing what is available. If I’ve said it once, I’ve said it a million times, look at what Kendy Ty did with a t2i and a Sigma 30mm 1.4 lens.

@Sage just so I understand correctly... sorry if this question has been repeated ad nauseum but if one shoots in CineLikeD, is there a free LogC conversion LUT, or am I just imagining that? From memory, it seems like you need to convert CineLikeD to VLog and then to LogC but I may be getting a few things compounded and confused?

I only asked because I felt the B&W actually has a different look than other B&W I’ve seen from the GH5, so I thought maybe you noticed a difference running it through GHA first.

@Sage with the price of the original Pocket and Micro plummeting on the used market, perhaps you could make a BMPCC Alexa LUT while you wait for your P4K? I’d probably go and buy a Micro or Pocket tomorrow if you had one available.

Honestly Sage, with what you’ve done with GHa, I really see no reason to even get the P4K. What you guys are getting out of the GHa is simply astonishing. IMO, why trade the production friendly elements of the GH5 for a minimal bump in IQ? But I guess from a business standpoint, it definitely makes sense for you to provide the Alexa look to the multitude of P4K owners... I’m sure they’ll go gaga over it. One request... since you were forced to purchase a second Classic, please make and post an Alexa video... preferably a short narrative. That makes sense. Didn’t you use CineLikeD with the GHa? Why’d you switch and what benefits are there to using VLog over CineLikeD? Is it just one less step or is there an IQ benefit?

Do you downscale before you edit or do you render out as 2K/1080p? Do you notice a major difference using GHA for B&W, opposed to regular VLog?

Really stunning... just WOW!!! I’ve been a fan of your work since your Nikon days, I loved your short about the author (sorry can’t remember the name) I thought it looked so high end for a Nikon DSLR and once again you are not disappointing. I love seeing frame grabs from narrative shots... it really lets me see what these cameras are capable of. I can tell from the frames why you would want to go with B&W for this project, but with color that good, it makes for a difficult choice I’d imagine. Do you shoot in 4K or 1080p? Also, what lens(es) are you using?

I think he means the skin line on the Vectorscope.

Cool video, I liked the music with the cutting. Hmm... I’m not a hundred percent sure of the camera... I’m guessing a Sony or Panasonic... but I think it’s the Sigma 18-35mm lens?

I’d never recommend the 5D3 with ML Raw to someone else, I’d only say how happy I am with it. But since you are familiar with the 50D and ML Raw, you’re well aware of some of the issues... most of which are cured with the 5D3. But the workflow can still be a little tedious and storage heavy. Right now with the options available, I’d go with something that has 10bit video, if video is a priority. I’d choose 10bit over FF... IMO. Since you’re used to the GH line, the GH5 may be a great choice with its IBIS... plus there’s a great holiday sale. The P4K seems to be a great camera if you’re shooting only video and have the time to wait for availability... preorders may not be filled until well into next year, plus you will need a few extra accessories that will bump the great price to a really good price. The X-T3 seems like the perfect hybrid available... IMO... great stills and great video with a really nice lens line up. Of those 3, you will have to spend money on media to get the most out of each system. Also do you have a computer that can handle the files or do you mind working with proxies? As any suggestion, YMMV and it really is a personal decision based on your needs. Hell, the G85 and the Olympus E-M10 Mark III are great little cameras, so if you could get by with one of those, then why not. Point being... everyone’s needs are different.

What were your WB settings?

Have a look at the X-T3. Very impressive. I also shot with a 50D with ML Raw for a little while. Eventually, that lead me to the 5D Mark III with ML Raw and I couldn’t be happier... it is a completely different experience than the 50D. Other than a fleeting thought here and there, I haven’t even considered another camera for nearly two years now. But recently I saw some videos from the X-T3 and the video is ridiculously good, especially for the price. I’m not trading in my 5D3 just yet, but I may be adding an X-T3 to the kit in the next 6 months or so.

I like it... was that 4K or 1080p... am on my phone, so I can’t really check. Which profiles have you tried? In the past I’ve used Prolost Flat, Marvels and Technicolor, but I’ve only used the last two briefly on the M10... so... This camera is so cheap right now, I should pick one up to temporarily kill my GAS and save me from buying an X-T3 until there’s a price drop. Also what lens(es) have you been using with these tests?

So the Eterna LUT is a utility LUT and affects exposure? Or do you mean it is burning saturation and a look into the image. Are you exposing to the right before using the FLog-709 LUT? Great info thanks, I look forward to your tests.

Good info, thanks @frontfocus!!! I didn’t know FLog was 2020. Is anyone experiencing any color shifts with a Rec709 transform?

Sorry if these questions have already been asked but 53 pages are a lot to get through... I’m curious why there are noise issues with the 2K if there isn’t in 4K? Is it common practice to ETTR F-Log? Does anyone know where middle grey is at in F-Log? Is there a Fuji white paper floating around that explains the Log Curve?

Looks wicked!!! I also agree with Django, this is THE most cinematic image from a hybrid to date. I personally like the image better than the P4K... but I like the P4K. Couple questions about your video... I didn’t notice... what lens did you use? Also with F-Log, did you ETTR? From your exposure change in the one shot, I’m gonna guess no? And finally, that Eterna LUT is amazing, I almost don’t believe you that there wasn’t any grading other than the LUT. Lol. Anyway, nice work. I am so tempted to buy one but I am in the middle of a shoot so it would just collect dust until I’m really ready to use it... which could be months away... maybe it will be a little cheaper then. Thanks Bruno, you really can push those files around. Thanks for posting. What are your thoughts of the 2K vs 4K?

Has anyone tested the 200mbps All-I 2K? I must say, I think this camera may be the best camera available right now for the price and output.

If you’re using IBIS, and shooting handheld, I would think you’d want them on the left side since you’re holding the camera with your right hand?

For small, unobtrusive set up, I’ve been using a long strap, and a Benro monopod, with a Manfrotto tilt head, completely collapsed, with the bottom of the monopod inside the kangaroo pocket of a hooded sweat shirt. Obviously you can’t walk around with it but for quick set ups I am getting some steady shots.