mercer

Did BM change BMD Film, it doesn’t look as flat out the gate.

I’m still holding out for Pentax.

Don’t you also have the E-M1ii?! I know you’re not big on 1080p but the E-M1ii picked up where the E-M5ii left off and went from 77mbps all-i with the E-M5ii to 202mbps all-i on the E-M1ii, can you confirm the 1080p quality?

Damn, I know it’s early but this is pretty exciting. I am going to have a little extra spending money in a few months. In the back of my mind, I was considering picking up a 5D4 while I had the money in hopes that ML would crack it eventually... maybe I’ll buy the EOS-R instead.

That’s pretty cool. I’m always looking for a tiny compact. I suppose the RX0 will be simple to make work?

Canon Log and Nikon Flat make no sense but always look great and are so easy to work with.

Good tips, thanks. For this specific project, I am not a hundred percent sure that I am going to use the 5D3, but I figure it’s better to get one that can carry the heavier weight. Most likely I’ll use the 35mm f/2 IS lens with it but I may also want to use the 24-70mm f/4... with the camera and lens, the weight should be around 3lbs but I’ll have to double check to be sure. Are there issues with lighter set ups on larger gimbals creating problems. I may also pick up an M50 or EM10iii this fall, so I guess it would be nice to be able to use the same gimbal. But if I do decide to go with a smaller, lighter camera for this project, I may go with a smaller, lighter gimbal. On a different note, I assume this is impossible due to weight limitations, but I really like the design of the Freefly Mövi iPhone Camera Robot... it would be really cool if the iPhone mount could be modified to make an RX100iv or other small p&s camera to work with it.

Thanks, I have a couple handles like that already in various sizes but the pictures really let me see how big a Beholder is... with the double handle, it seems like the right sized configuration, I’ve been looking for.

Canon has a patent for IBIS so I imagine it’s only a matter of time before they implement it. But they also have said that they feel Lens IS is more effective than sensor stabilization... so who knows. This is kind of interesting... https://www.canonrumors.com/patent-canon-not-closing-the-door-on-in-body-image-stabilization/ “Note that the second image stabilization is not limited to electronic image stabilization, and may be, for example, image stabilization performed by controlling a mechanical movement of the image capturing device, or image stabilization performed by controlling a movable optical element in the camera body” The last part of the statement is intriguing... “image stabilization performed by controlling a movable optical element in the camera body” so I wonder if that is something that could be implemented into a future EF adapter for the R series?

I also saw a video John Brawley made with the E-M5ii where he used it conjunction with the Defy G2. That double handled model seemed to be a relatively small size and not too draining on the arms. Anyway, any info is much appreciated. Yeah, I wonder if you could rig a tripod column to hook into it? Btw, which Osmo do you have?

Yes, I would be the operator and as much as I prefer the look of a Glidecam, I don’t know if I have the time to really get good at it before shooting begins in December. Like @leslie ‘s S40, I have a cheap Merlin copy made by Vidpro. It actually works fairly well except for the obvious wind drift... after a day or two of practicing with it (a few years back) I was able to get my index finger to reign it in a little but even that wasn’t perfect... which I guess a gimbal would cure more easily? This film doesn’t need long, silky smooth movements. I was going to use cuts to make it feel more frenetic. So I wouldn’t be following the talent around as much as I would be meeting them at a mark, or pushing them in a different direction as though the camera was a constant obstacle in their chase scene. Thanks, it does seem that a gimbal will be more beneficial. @scotchtape recommended the Ronin-S, do you have any other recommendations? I don’t mind spending the money on it but a cheaper alternative would also be good... especially since my concurrent project is a completely static film on sticks. I had a look at the BH site and as I mentioned, the Glidecam Centurion has a briefcase mode which seems very intuitive to me for some low profile shots... But that model doesn’t seem to have many reviews. I’ve also heard some okay things about the Beholder and obviously the Crane. An AF wheel would be a plus as well, I guess.

Thanks, I assumed a gimbal would be a better option. Do you think the Ronin-S is the best on the market for the price? Interestingly, I was looking at some Osmo gimbal cameras. I’ve been secretly pining over the X5R and even the X5 looks pretty decent but then it seems the Z-axis add on takes something that is small and manageable into large and cumbersome territory. That’s a cool product you linked to and certainly the price is right, even if it does look like a medieval torture device... I wonder if one of those would help make IBIS cameras walkable.

Does anyone use a Glidecam, or any steadicam, with a Tru Horizon gimbal head? I’m writing a thriller I want to shoot this winter, with my 5D3, and would like to incorporate some movement into the shots. I’ve never used a gimbal and have very little experience with a steady cam. Originally, I was looking at a two handled gimbal but they seem so big and bulky but the single handled versions seem tiring? The Glidecam Centurion has an interesting top handle configuration that looks intriguing but the reviews seem mixed. When I stumbled upon the Glidecam XR and Tru Horizon combo, it seemed like an interesting compromise? Any info for a beginner gimbal/steady cam user looking for a relatively simple way to get some kinetic movement in their shots would be very appreciated.

Wait... you’re supposed to bring a camera to a shoot? No wonder it’s taking me so long to finish my film. But seriously, I at least bring an extra wide angle and a nifty fifty, extra cards and I always bring extra batteries.

Lol... probably not. If you stick up for the GH5, the BM fanboys attack you, if you stick up for the P4K, the GH5 fans go nuts... I may as well talk to myself in the ML Raw forum... I’ll definitely like what I have to say... ? In the end, these are just cameras and it’s not worth getting angry over.

As I previously noted, I was being hyperbolic with murder and obliterate but that doesn’t negate the fact that ProRes XQ at +700 mbps should look better than 400 mbps of the GH5. And in some ways it does but I don’t know if it looks almost twice as good.

I think 10bit is good for a bump in perceived DR. It helps with color tonality on objects of the same or similar colors... for instance the shadows in leaves or a slight different hue of green. This seems to give it a thicker, more 3D look. So it’s definitely a positive but even 8bit Canon color from the C100 with CLog or 8bit Nikon Flat can give a similar, albeit different, end result. Surely you will notice it with Raw video the way it will pick up textures with the higher color data.

Thank you! I didn’t come to this topic to be a dick. I am working on a few short scripts (and features) so of course I’m interested in the P4K, but from what I’ve seen so far, I’m not convinced. However, I am glad that the people that bought it are happy with it. I just hate this mob mentality to attack any person that dislikes a camera, or even dares to question it... it’s like Grant Petty is offering free old fashioneds to anyone that sticks up for the P4K. Yeah, a little hyperbole in my word choices.

See ya, your almighty, holier than thou, “professional” attitude was annoying to read anyway. If you were looking for blind adoration, this definitely isn’t the place for you... there are plenty of ...user sites around for that. But out of curiosity, how else are people to evaluate an image if not where the artist chose to present it? I guess I should go out and buy a camera I don’t need, just so I can have an opinion. Note taken.

Theoretically it should as the GH5 outputs a highly compressed 4K 10bit 4:22 400mbps image. Even with 1080p only, the OG Pocket murders the GH5, so one would think the P4K would obliterate it.

So, I’m not really invested in this conversation since it is doubtful I will buy a P4K for a long while, but here’s my 2 cents... There are some flaws with this camera that didn’t exist once the OG Pocket matured via FW updates. Those FW updates fixed the original camera. So, I know everybody loves their new P4K and don’t want to mention any downsides but they are there so ignoring them won’t help in the long run. We already know that people from BM check this post, so if you have an issue, scream it from the rooftops, so BM will address it with a FW update... they’re really good at that. Ben has some valid points. This camera should theoretically murder the GH5, but from what I’ve seen... it doesn’t. The DR is similar or only modestly better. The GH5 actually handles the highlights as well or better and I am seeing something funky with the color... specifically with greens... I don’t know if it is a slight IR pollution? All in all, I am impressed with the P4K, albeit a little clean and pedestrian for my goals, but this isn’t our spouse we’re talking about here... it’s okay to mention its shortcomings.

Yeah sorry, I edited my original comment when I realized you said you sell 4K videos. That’s really cool that your adventures give you that opportunity... I guess it helps to fund some of your adventures as well... smart move. Hey everybody has needs, wants and opinions. I’m shooting 2:35 ML Raw, which is less than 1080p, on my 5D3 because I just love the look for my needs and wants. I love it so much, I don’t know why every narrative filmmaker doesn’t own one.

@wolf33d sorry for the OT, but do you make 10 grand a year selling stuff you shot with the D5500? On topic... the problem with these types of posts are that everybody is different and has different needs. You have very strong opinions based on your needs but just because you find M4/3 useless doesn’t mean the format is dead. There are hundreds of other shooters that will still see the benefit of the smaller sensor M4/3 camera and I don’t see that changing any time soon. Hell, the E-M1ii, a M4/3 camera, could be the closest camera to what you’ve been longing for. EDIT: never mind I reread your comment and saw that you sell the 4K video clips.

Well, for me the ProRes is great because I am an FCPX user. But if you’re a Resolve user, you just bring the CDNG files in and work on them natively. I don’t want to be a color grader, so I don’t have the time or inclination to learn Resolve and prefer the simplicity of FCPX.

Yeah that’s what I ineloquently meant as a big plus for the P4K. H.265 files are a nightmare for my setup. I can transcode my ML Raw files to CDNG, bring them into Resolve, color correct them and export them to ProRes 444 faster than I could transcode and downscale the NX500 h.265 4K files to 1080p ProRes LT.