mercer

They look even better on a smudgy iPhone 5S screen.

I think he meant “crushing everything else” based on google search numbers. So if we are to believe that this extrapolated data has any direct correlation on sales, or interest, and the 5D series is down, then Panasonic and Sony are really screwed because their numbers are way worse than Canon’s.

@Sage I can imagine you get requests every day to make Alexa color for the iPhone or for Sony or for the PixelVision 2000... lol. There are a lot of ifs in my scenario, but if I go with a Panny, I’d imagine even with 8bit, your CineLikeD process could work? The magic is in the skintones so maybe even some experimenting with zebra strength could do the trick. If I go that route, I’ll keep you updated. Thanks.

Well, Samys in LA has been listing some “New Other - Open Box” G9s on eBay for $1249... so that is a pretty big difference with the GH5 and the G9 seems to have better IBIS than the GH5. The G85 could be an option but the price difference between it and the G9 is kinda small, especially when you consider you can have 4K 48p and 60p with the G9... plus you get a headphone input and a few other extras. I already have Raw video with my 5D3, so I have no interest in the P4K. Honestly, if I even get a second camera, it’s between a Panasonic or the X-H1. If I choose a Panasonic it will be for the IBIS and your color science conversion... and for a camera to use some of my c-mount lenses. Most of my short films will be shot with the 5D3, and the second camera will be for casual, family and experimental pieces. Now if you were to create a post workflow for the Nikon Flat Profile, I may get another D5500.

Man, that Venice image just takes my breath away and could make me lose that loving feeling for that Arri color science.

Unsure if I should laugh or cry at this comment. With what’s on the market right now, I would probably switch back to Panasonic for the G9 or get an X-H1. But I can assure you, either way there will be imbalance... This was supposed to be in black and white... imbalance

@Sage honestly, I’ve been one of the biggest critics of the GH5/s on this site. But I can honestly say, you’re conversion/LUT (to be honest I’m not a hundred percent sure of your method, I need to go back and read the entire thread) makes me reconsider my preconceptions. I’m still not sold that it is a replacement for an Alexa or exactly like Arri color science, but it doesn’t matter because it fixed every issue I’ve ever had with Panasonic color. I’ve owned a few Panasonic cameras over the years and I’ve always struggled with their color. Granted I struggle with color in general but Panasonic never worked for even my tried and true, goto color hack jobs. But I’ve always been a fan of CineLikeD, I find it just flat enough for light grading. Now I don’t think I’m in the market for a GH5, but the prices of the G9 are dropping and the G85 is a great low budget option, so I’d be very interested to see how your process works with those cameras in CineLikeD. Also, as a side note, I have a history with the Nikon D5500 and their Flat Profile is simply gorgeous to work with. While messing with some files the other day, I noticed that LogC LUTS worked amazingly well with the footage (obviously at a reduced percentage) so with the new Nikon mirrorless coming, it may be worth looking into. And with the D3400 now sporting the Flat Profile and a $300 price tag, it or the still cheap D5500 are great options for no budget filmmakers. If you could work your magic on that... I know I would be a customer. Either way, great work!!!

I only understood 6 words in that sentence... lol. What’s the street value of all that ear porn?

Here’s another screengrab from my film... again shot with the Canon 28mm 1.8... edit: sorry I uploaded the wrong screengrab... Anyway, I still love the Canon 28mm 1.8, especially for the price I paid for it. I also have the 50mm 1.4 but I rarely ever use it. I think I may get the USM 85mm 1.8, has anyone ever used it?

Jon, thanks for mentioning these. I’ve spent so many years in search of cameras and lenses, in the near future I’m going to shift my focus and wallet towards lighting and audio. Although the Fotodiox versions are a little pricey (did they invent flapjacks?) they seem so well built and get really good reviews. I think I’m going to pick up the 5x8 or 7” on camera light in the coming months and if I’m as pleased with it as I suspect I’ll be, I may pick up one or two of the studio lights next year.

Well, it’s been less than 5 and I didn’t cry over it or anything.

The large mouth opening can probably only help with lens design and probably is as large as it is to allow for different AF motors, mechanics, electronics, etc... but if you take a look at even the simplest of lens designs... say a Zeiss Planar... the ZF version is an entirely different shape to accommodate the aperture ring compared to the ZE version which has no aperture ring but has electronic contacts to change the aperture. So no matter how you look at it, new molds will need to be made for each of the 3rd Party lenses to make new versions for the Z mount. It’s not as simple as throwing on a new mount to existing bodies but It certainly won’t take years but doubtful they’ll be out tomorrow.

Well of course they’re all different and not just a mount. The electronics/mechanics involved in changing the aperture of an F Mount is an entirely different design than an EF Mount and etc... so I am sure the 3rd party manufacturers will be able to produce Z mount lenses, but it may take a little while. Of course, they may have already licensed the mount and design and have been working on this. The more available lenses will only help Nikon sell more cameras. Now for manual lenses, the turnaround could be quicker and Voigtlander, Zeiss, Chinese lens manufacturers could turn around some lenses very quickly, I’d imagine.

I try not to guess what Canon will or won’t do anymore, but it seems, from Rumor sites mind you, that Canon is planning on taking video seriously in their upcoming releases and are using a new sensor in their upcoming FF mirrorless. They also have patents for IBIS and a next generation of DPAF... so if they could manage a small to no crop image, plus IBIS and updated DPAF, hopefully with an EF Mount, then that alone will make me interested. If not, I’ll get a C100 or maybe this Nikon if it lives up to its hopes. In the end, the only certainty for me is that I am continuing with my 5D3 and ML Raw. Anything else, is just gravy. Ugh, I need to go out and shoot something. I just realized I mentioned about 5 cameras I want and that was just today... the dog days of summer GAS is starting to set in.

Oh I’ve been a fan of the Sony image for a while. I haven’t always gotten along with it, but that’s more my fault than Sony’s. I’m even contemplating a brand new 2014 a6000 this fall... well it’s on the list of fun cameras to give a go that I couldn’t afford when they were in fact new... lol.

Well even the video features from the laundry list you’ve posted, Nikon has already had a lot of them on one or another of their DSLRs and/or advertise having on their upcoming FF mirrorless except maybe Clear Zoom. IDK, I’ve always liked Sony but I also have always looked at them as a tech company first and their cameras are demos for what their sensors can do. But in the end, some people like vanilla and some people like chocolate and after Nikon and Canon get into the FF mirrorless market, there will be a be a Neapolitan of flavors for every shooters FF tastes. To edit my last comment... Video AF is obviously the pink elephant in the room here... if Nikon doesn’t come out swinging, they will lose to both Sony and Canon. I tend to go the optimistic route with Canon. I’m regularly let down, but when I’m surprised... I’m really surprised... I just can’t afford it.

@newfoundmass He’s been pretty cool and helpful to me... but I could be one “dumb” comment away from receiving his wrath... lol.

Idk, I tend to think that both Nikon and Canon only look at each other as competitors. Sony’s market share could dilute quickly once this Nikon is released and even quicker when the Canon is released. A lot of the shooters that “jumped ship” will take their EF lenses and Nikkor lenses back to their native homes... unless Nikon and Canon only attempt a bunt with their first foray into FF mirrorless. The fact that they’re both getting into the market around the same time may force their hands into offering the kitchen sink for fears that the other may do the same. Time will tell but in the meantime, it will be a fun guessing game.

I’m in the states in Southern New Jersey, right outside of Philadelphia. I’m sure I’ll find someone eventually and being a hobbyist means I can take my time. I’ve been obsessed with the Canon 28mm 1.8 lately on my 5D3. I can go handheld and with the speed get some shallow close ups as well. But with that Super 35mm sensor it won’t be as steady handheld, so I would probably use the 24-70mm f/4 with IS or possibly a fast Sigma 20mm. The extra monitor is a downside for me. I hate rigging stuff up and since I shoot run and gun, guerrilla style, it’s imperative to keep as small a footprint as possible... for paid jobs it’s a different story though and a good thing to think about... thanks.

Yeah I had both the Pocket and the Micro. I loved the Micro but hated rigging it up. And the Pocket I got around the same time that I first experimented with ML Raw on the 50D... the color and ease of grading was just way better with the Canon, so eventually I went that route with the 5D3. And for all intents and purposes, I couldn’t be happier. I could shoot with that camera for the next five years and be happy with the results. For messing around with c-mounts, those cameras just aren’t worth the trouble. IBIS is really the best option for those lenses and my interest in using them. With my EF lenses and c-mounts, the M50 seemed like fun, but after your glowing review, I’ll probably wait to see what else comes around.

Really 1 Star? I had two GX85s and I wanted to like them but I just don’t get along well with Panasonic color. But it was fun to use my c-mounts with IBIS. In fact, I’ve contemplated getting a G85 or G9 for that reason alone. I get gear crazy every summer, so I doubt I’ll get one but if I do it would really be as glove box cam. I bought a Q7 a few years back just to use a bunch of D mount lenses I acquired over the years. It was fun for a few minutes but that camera, with its pluses and it had a couple, had the worst RS I had ever seen, you literally couldn’t even frame your shot without a dose of Dramamine. But to your broader point, I agree, the M line is the redheaded step sister of the Canon lens lineup. The fact that they don’t already have a nifty fifty after 5 years is an issue and a symbol that they don’t see the M line as being anything more than a base consumer model for pocketbook shutterbugs. Man, I hope they go EF for their FF mirrorless.

I don’t doubt it for a moment. @webrunner5 shared this video with me the other day that he found online. This would be the exact way I would use the camera for narratives... Stripped down to its basics for a verite feel.

I don’t disagree with you, but for me this is a means to an end. My real job is in the trade show industry and it is crazy the amount of 80Ds being used to record trade show footage for Fortune 500 companies. With that being said, I will hold out for a good deal on a C100. Honestly, I’d rather not have to do any paid work and just shoot Raw on my 5D3 but short films are becoming way too expensive as a hobbyist. I’m a year into a short film that I am so thrilled about and excited for the possibilities but I cannot find a leading actress that shares my enthusiasm if dollar signs aren’t attached. Honestly, if I can find that actress, I may abandon the idea of getting a C100 and trudge forward as a “serious” narrative hobbyist... it sucks how I have to label myself on forums... there aren’t enough adjectives... my girlfriend would probably add dumbass...

Yeah, I’m unsure why there needs to be lines drawn in the sand about camera brands and more specifically, product lines within camera brands. I had an a 6500 and I didn’t find it unwieldy at all. The ibis was nice and even found sLog3 to be quite usable under the right circumstances. The level of detail and dr in 8bit was the closest to Raw video that I ever used. With that being said, the M50 isn’t even a comparable camera at half the cost. It definitely has its issues but even some of its issues are what makes it appealing as a grab and go, leisure camera. For one, I welcome the 4K crop. For the most part, I have little interest in 4K video right now, but the 4K crop offers me a chance to use my crappy old c-mount lenses with it while enjoying the benefits of Canon color and a little extra resolution. For the same type of leisurely, family photos and videos, the 1080p seems plenty good enough when married with the 22mm for videos with a street shooting vibe and DPAF. Now the rumor sites speculate that the next generation of the M5 may fix some of the issues the M50 suffers from... who knows... if it does, I may look into that as well. Or maybe this time next year, Sony will release an a5200 in this price range or Nikon will release a mirrorless D5700. If so, maybe I’ll give them a try as well. The good thing about this market segment is that you can buy and sell within it without too much of a loss.

@MdB thanks for the info. If only Canon would update the 1DC at current C Line or 1DXii pricing. If they used RawLite, there would be a perfect A and B cam set up that would be hard to ignore. In the meantime, I’m hoping to find a used C100 for $1300 or less. Anything more and I’m unsure if it will be worth the investment for me. Any paid work I do will be small jobs (birthday parties, family reunions) or second shooter type of work. I don’t expect to make a living out of it, but I hope it will pay off the camera and fund my short films. At any higher of a price, I may as well pick up an a6000 and RX10. Or even an 80D for the DPAF to make my life easier. I probably won’t get second shooter jobs with those but I can easily recoup the costs with small jobs found on Craigslist. Obviously, the higher cost of the C100 is worth it over the Sonys and the 80D because I can also shoot some of my own narrative work with it.