webrunner5

Wow a Andrew Reid, Philip Bloom shootout at Brighton Beach with new Sony A7s mk III's. Can't wait.

From Wiki. "Unlike USM, STM lenses use focus-by-wire to enable full-time manual mode. Two main disadvantages are linked to focus-by-wire: First, the need to computationally process the input before the intended action is executed leads to a sometimes perceptible lag. Second, using the motor requires power, so when an STM lens is not connected to a camera or the camera is switched off, changing the focus is impossible." "Canon announced Stepping motor (STM) lenses first in June 2012, alongside the EOS 650D/Rebel T4i/Kiss X6i." SO I guess you are right on USM lenses.

Interesting. Good to know. Thanks both of you..

This might help. Our old friend. Well he is not old, well no he is not, I guess, no.

https://vimeo.com/71749184 I think maybe he used the Canon 100mm f 2.8 on the opening?? They are pretty far away to have used a wide angle lens I think and still looked that big on screen.. There is a Lot of OOF and compression behind them. Wow it may be the 85 f 1.4 now that I re look at it again. I guess i just got an impression that the video was pretty amazing to you and I will admit me also using that old of a ML hack. And it only I guess was 1080p at the time??

@DaveAltizer Here is some interesting Red Dragon 6k for you. He Had to bring it up didn't he. SO are you suggesting that maybe ML was better back then than now, at least in 1080p??

1: Alexa 2: BCC 3: Canon raw

Well here is a damn interesting Comparison. Surprisingly pretty damn even.

Well you can manually focus them but since they are Focus by Wire there is no smooth way to do it, or make it repeatable. Not counting any kind of crash focus. I have no clue why Canon, Nikon doesn't copy the Olympus Clutch thingy. They are a heck of a lot more usable for video.

What is, was, this dual ISO thingy on the 5D mk III?? I know this is a old, 2013 video though. Wow there is some serious detail in this Commercial using a ML 5D mk III.

You know I would like to see a BMCC versus ML 5D mk III side by side comparison. I would guess maybe the Canon would win, but yeah, a BMCC is a Hell of a lot easier workflow wise. Well I found one with a early version of ML. Pretty close. But Only 1080p on the Canon then I guess.. https://nofilmschool.com/2013/05/blackmagic-cinema-camera-canon-5d-mark-iii-raw-video-test

That doesn't sound like much of a fun Vacation LoL. You have way more patience than I have to do that!

Never had one, but I have read a few places where they say the imagine output looks nicer. MX has lager Sensor and 16 bit instead of 12 bit. I would not pay much for the original one. But I have seen a few for less than a 1000 bucks body only. Hell of a good way to learn good Pro video camera basics. This is a nice list for comparing older Cine cameras. https://en.wikipedia.org/wiki/List_of_large_sensor_interchangeable-lens_video_cameras

All the older Canon lenses sounds like that. Silent they weren't. Recorded it so it would be louder so old turds can hear it. I guess you are REALLY young. He recorded it so you can hear the different pitch when it was in focus and not. The Machine gun sound was mostly when it worked like it was suppose to. No hunting.

Yeah I can see how you would not use it for your daily shooter LoL. Just special stuff. Same with a 1DC, at least I would use them that way. I know it's cheaper but why didn't you go with the A6500?

And about the Parafocal part. There is No such thing as a cheap Parafocal lens. And by cheap I mean Thousands of Dollars or more for a good one. It just about has to be a Cine lens, and you know how cheap those are, to be built well enough. I am sure there is a few Cheap ones, but not many. The cheapest Parafocal lens I know you can buy is a B4 lens. I have had a bunch of them. IF it has, and it has to, a 2x converter in it it will cover m4/3 imagine circle when engaged. And, and a big And, it has to be a 2/3" one, not the 1/2" one. Most of them are the 2/3" ones. Now I am not sure if the new Sensor in the GH5s will work perfect. I have not been on the Facebook B4 lens section for awhile. I used to contribute to it a lot. I was one of the first to use them on m4/3. Not the first but just happened to have them laying around and got a good deal at the time from a guy in Germany making one off B4 to m4/3 adapters. Now you can buy them for 20 bucks, then 250 bucks and up. They are fun to try if for anything else. They make a Leica lens look like shit quality wise LoL. They are a thing of beauty.They work Really well on a BMPCC, and the BMCC if it is the MFT mount also. You don't have to have the 2x one for them. But you can NOT handhold a B4 lens. Tripod, and a Damn good one at that, only. But you can buy what used to be a $10,000.00 lens or more, for around 75 bucks or more on eBay, Adorama, etc. But for that money most, well all, will have the zoom servo Not working unless you are lucky as hell. The motors in them just flat wear out over time. I am a bigger fan of Fujinon lens than any of the rest. But none of them is junk trust me.

Oh I am sure you will learn. Just treat it as a Photo, and apply it to all, and hell you will be in like Flint. Camera Raw is a Way easier program to learn than Premier. Personally I like iMovie. That way my 5 year old Grandchild can help me out. I am old you remember.

You ain't going Punk Rock on us are you!!

Dammit Kid that video is like being there. I think that is the best I have seen from you! And that is saying something. I think you and Mercer need to be thrown off of here for making the rest of us look bad LoL!! Jesus maybe I Need to buy a 5D mk III. Say it ain't so! Between it and a 1DC I guess I am Canon bound. That is the stuff I came on here to see. I know if we were rich it might not be too hard with a Arri Alexa, etc. But you don't have to be to get the results you guys are getting. I am impressed.

I think the main thing you have to ask yourself what am I going to be doing with 90% of my time shooting with either camera. IF you are not going to use it on a tripod or on a Gimbal most of the time I see no real reason to buy a GH5s, unless you already have a GH5. I am a tripod shooter, so a GH5s would work for me. And I would not call a GH5, or a GH5s a very Cinematic looking camera to be honest. No more than a Sony A6500, or a Sony A7r mk III is. To me it has to almost shoot Raw for me to call a camera Really Cine or Filmic looking, especially in 4k. Even a 10 bit camera I don't think is "thick" enough for a film look.

Plus one frame forward or backwards of the screen grab may look totally different. I , and I am sure others sure as hell don't take the worse looking frame grab to show LoL. But it does give others some idea, with little band width, to show our stuff!

I found this on Slog, Noise etc. better explained than I can do. I at least found it interesting. Applies a bit to what we are talking about. http://www.xdcam-user.com/2014/03/understanding-sonys-slog3-it-isnt-really-noisy/

Nice, thanks for the offer.

I am not too sure about the IQ part. 4k on all these newer video cameras is getting pretty damn good. And Panny has fixed a lot of the color problems. I would bet the gap is not as far off as you think. Now sure there is the Canon color thing but that is becoming less hard to replicate as of late. Would be nice to see a side by side comparison. I know the DPR review of the GH5s is showing it to be better than the Sony A7s mk II. But that is 10bit versus 8 bit in the Sony. But the 4k in the 1DC is 4.2.2 8 bit so...

You be right on the F23. 1080P RGB 4:4:4 image capture and signal processing. Intuitive film work-style architecture. Controls, indicators and menus follow cinematography conventions. Variable Frame-rate in 1fps increments over and under cranking - 1fps to 30fps @ 4:4:4 mode. - 1fps to 60fps @ 4:2:2 mode. - Interval recording (with ramp control). - Shutter angle can be varied from 3.9 to 360 degrees. High precision 14-bit AD conversion and high bit order digital signal processing for high latitude (dynamic range), and a accurate color reproduction. Five preset plus custom gamma curves. - One preset 10-bit "S-Log" gamma for ultra wide latitude - Four preset hyper gamma curves. - Cinematographers can create custom gamma curves. High precision, reinforced B4 Lens Mount. Compact and flexible design, the camera can be mounted in confined spaces and operated from any side. - Top or rear, direct docking to the SRW-1. - Dual link for tethered applications. Included "Assistant's Control Panel" duplicates all the camera controls and indicators on the camera body. Compatible with SR Motion; interval recording, select FPS, slow shutter and digital accelerating, decelerating and linear speed ramps. Directly compatible with ARRI cinematography accessories. 12V and 24V DC accessory power outputs. Camera setup can be saved to Memory Stick® media.