mercer

However I will say the E2 may just be the comeback camera of the year. It would be a lot nicer at a grand though.

Yup, I don’t like rigged out cameras, but that 3.5” Ikan wouldn’t be too unwieldy with the E2. H.265 sure does save space, I used to get hours of footage with a 32GB card on my NX500. But storage is cheap, processing power is expensive and it would take forever to transcode those h.265 files to ProRes LT.

I, actually, quite liked that. Interestingly, I think I may like that image better than another camera’s image that’s all the rage. Too bad it doesn’t have a screen and shoots h.265. Oh well, maybe next year BH will have them on sale for $200.

Yeah the lack of metering in manual mode is annoying but a quick tap of the ISO and you can see the meter for reference.

Gotta love Canon colors... it’s like a moving photograph. I love dropping the midtones with Canon, it pulls such rich color tones. What lens was this?

Jesus, it seems like Canon had to work harder for that configuration. But that clears it up, thanks. It definitely pays to have FF lenses if you intend on shooting 1080p up to 60p then. I wonder what will happen when dummy adapters start circulating. I assume if there is no contact made, it locks you out of EF-S mode. For instance, an older Sigma 30mm 1.4 aps-c lens for Nikon on a dummy adapter. But that makes me wonder... is the shoot without lens function in the menus?

I think he’s saying that you can use ef-s lenses in 4K crop mode of 1.8x where you can also shoot 1080p... so you won’t get 60p at 1.6x but you will get it at 1.8x... or at least that’s how I read it.

Yeah, I would buy an X5S tomorrow if I could use it with some form of an Osmo handle. And I would probably get an Inspire drone by Christmas to fly it. The X7 is gorgeous and I’d love to have the S35 look but until someone makes adapters for their new mount, I can’t see myself shelling out a grand for a prime lens I can only use with one system.

I thought Luke said he never used CineLight on a PC?

@Neumann Films to quote an oldie but goodie... you just won the Internet. Seriously though, that is simply gorgeous. Thanks for sharing it!

Assuming Raw works on the P4K like it did with other cameras, ISO doesn’t matter so you would shoot at Native ISO. With previous cameras, you’d also get the cleanest ProRes by shooting at the native ISO as well. If that’s still the case, the P4K is still a great advancement because you have 2 native ISOs... one for daylight and one for lowlight. @kye

From my earlier post, according to @Neumann Films you can use ACR to read the files if on a PC... it seems like the Mac and the DJi software may be the issue... not including the other issues that Oliver mentioned... of course with his laundry list, I wonder if he just had a dud.

Good to know. The Micro was one of my favorite cameras, I just hated rigging it up to make it usable. I still wish BM released a Micro with a screen and maybe a small bump in resolution to 2.5K or 2.7K. Have you noticed any IR issues with the P4K? In some of the Raw samples floating around, the greens seem like they could be affected by some IR pollution.

I have a post from last year about it that was intriguing... Luke Neumann really likes it and Oliver really disliked it... If they would just release the Osmo handle for the X5S, it would be a no brainer. I’d also... eventually buy an Inspire to fly it. In the video I posted from the Northmen, the X5R parts are gorgeous and match well with the 5D2 Raw... of course I think the ML Raw is the star in that video... but as a combo, it’s an excellent 1,2 punch. What’s odd about the files are that they seem to be an encrypted CDNG and then with the software you can transcode to ProRes or to CDNG... I wonder if the “transcode” to CDNG is faster than it is to ProRes because you are right at the used prices they’re going for now, it would be a great tool for handheld Raw.

Camcorders are awesome. Have you seen what the Z90 can do... it’s a S16 FS5 with a built in lens and PDAF... for $2000 cheaper. But I digress... I am also looking into the Osmo Raw. The portability factor is undeniable as is the image. I know a lot of X5R owners are begging DJi to include ProRes Raw and it seemed like it was going to get the upgrade but they’ve been silent for awhile now. On the other hand, the X5S was released with the promise of the Osmo handle “coming soon” and the owners have been waiting for it for way over a year now with little response from DJi. EDIT - sorry it seems like the X5S, not X5R, owners are the ones begging for ProRes Raw and the promised Osmo handle. I’ve heard mixed reports about the X5R and the ProRes conversion with some owners saying it isn’t that bad. You’d think there’d be a workaround by now.

Well, since Olympus and BlackMagic have a common link with John Brawley, I’m kinda hoping he may set up some kind of licensing deal between BM and Olympus for BRaw... then it can truly be called BRaw(ley) They look like they are to me. But it doesn’t really matter... it seems kinda counterproductive to argue that the P4K is way better than another great camera from the same company. @Jim Giberti I just realized that you’re the guy that made one of my favorite Micro videos... the horses in the snow. I have trust that the P4K is a great camera but I can’t honestly say that I have seen any videos from it yet that is better than that BMMCC video of yours.

I was actually pleasantly surprised when I learned the P4K’s Gen 4 color science resulted in a more saturated Log Profile. As much as I love the look of the OG Pocket, I was never very good at coloring it without completely relying on one of Captain Hook’s LUTS. It seems the newer color science will lend itself to an easily gradeable image... for me anyway. I don’t know if I love the pristine image quite yet but I can appreciate the clean palette concept behind it. But again I still want to see some 1080p, 24p ProRes. Since the OG Pocket was sometimes referred to as a poor man’s Alexa, I’m curious to see if the 1080p gives me what I feel is missing from the original.

I was thinking about this and it will be interesting to use Canon Log as a picture profile with ML Raw. Does the eos-r have a Canon Log monitor LUT? Too bad there’s only one card slot. One of the best aspects of running ML on the 5D3 is the ability to have the FW on an SD card that you just leave in the camera. With the EOS-R, every card will need a copy of the firmware. Also @Andrew Reid I usually use ProLost Flat or Monochrome as a PP in my 5D3, and I understand the conversion process well enough to know what my final outcome would be but I was curious how EOSHD Log would work as a PP? Have you tested it? Then I was thinking about the Resolve conversion to BMDFilm and wondered if it is possible to create an EOSHD Log to BMDFilm conversion PP with a possible conversion PP of EOSHD Log-BMDFilm-Rec709 to be used as a viewing LUT/PP for ML Raw? It’s probably more time consuming than it’s worth for you but it could be an interesting tool for exposure.

The ProRes has very little moire anyway. And I’m sure the OG look is easily obtainable with the P4K but for less than $500 used... plus the highlights are better on the OG. I don’t have a need for 4K for at least another year and I’m hoping ML will help me out when that time comes. If not, a used P4K (or fire sale) will be my next main camera. But I have a feeling another company will have Raw capabilities by this time next year... am hoping it might be Olympus.

Thanks I don’t know why I remembered 12. I still love the OG Pocket and Micro image... I look at it like this... if you like a more filmic look... the OG Pocket is for you... if you prefer a more modern cinematic look... then the P4K is the way to go. Has there been any good 1080p ProRes samples from the P4K floating around?

I’m looking to pick up a flapjack or two in the next couple months, glad to hear you like them.

Wait... I thought the P4K was rated at 12 stops of DR by BM and the OG Pocket is rated at 13... am I missing something?

I prefer Atilla’s real world test.

Yup, even if you read the earliest product overviews from Canon cameras with DPAF, it explains that DPAF offers AF more similar to a camcorder.

I’ve been saying this for a while now. The DSLR Revolution was ruined by “filmmakers” using the equipment as if they are on a Hollywood set. It’s been said ad nauseum... different tools for different jobs. I have a film idea I am fleshing out that is entirely static shots... so of course I’ll use sticks for that project. The film after that will be a found footage movie... I’ll probably use a camcorder with OIS turned on, or a camera with IBIS and you can be damned sure I will use Sony’s PDAF or Canon DPAF. For the film I’m working on now, I decided to shoot handheld with just my camera and a strap, for some of the reasons Kye mentioned, but also to get in and get the shot. I’m relying on Canon IS and it is serving me well. With dialogue scenes, I’ll put the camera on sticks or use my monopod because I don’t want any movement while rack focusing. But I will say that I would love to have DPAF for tracking shots and for touch focus. I’m getting by without it, with a few misses here and there but it’s doable. I think webrunner’s point is valid though. I’m just a hobbyist, so I have the time to do more takes until I nail the focus or nail it enough that I can cut away in the edit. But if I was a videographer that gets paid to shoot events... without a doubt I would get a Canon or a Sony... time is money... or I’d get a camera with IBIS for the same reasons. Obviously this is a post born from the P4K thread and although I understand the OP’s sentiment, the problem with the P4K, which isn’t the P4K’s fault... even though the front record button is slightly misleading to the vlogger crowd, is that a lot of videographers feel they need the specs of a cinema camera to shoot a talking head video or an event and it’s those people who webrunner is referring to regarding the benefits of IBIS or AF.