Leaderboard

Video grabs from a mystery noisy camera with a mystery unsharp lens

If you didn't know Puget Systems is one of the few companies who sell workstations that they actually test and benchmark. Their blog posts and comparisons were always my go to for concrete and accurate information whenever I wanted to build a new PC or upgrade my previous one. Now the benchmark that they use to test their configuration has been opened to public, so anyone can do the tests. https://www.pugetsystems.com/labs/articles/Puget-Systems-Adobe-Premiere-Pro-CC-Benchmark-1519/

Try and watch any new 4K video, trailer or camera test on YouTube in Safari - you will see 1080p or 1440p max! Until Apple and Google stops ripping off their customers with silly codec wars, here is a solution I've found to get 4K YouTube videos working again in Safari. Read the full article

Today the Panasonic S1 gets the new V1.2 firmware update which brings the capability to unlock the catchily dubbed DMW-SFU2 upgrade capabilities. Full V-LOG (not "L"), Cinema VariCam colour science (V-Gamut) and 10bit codec upgrade to 4K 4:2:2 150Mbit are the main features. As well as that there's LUT support in camera, high res 24bit audio and other exciting improvements. Read the full article

DPReview say the GFX 100 is giving the best image they've ever tested... I'd say the S1R does even better in Pixel Shift mode https://***URL removed***/news/6009498706/fujifilm-gfx100-sets-new-benchmark-in-our-studio-scene Impressive stuff from Panasonic to better the resolving power of 100 megapixel medium format.

Here’s a frame from one of the cheapest lenses around... Nikkor 50mm f/2. The lens is fairly sharp and contrasty wide open but since this is was a wide angle shot, I stopped it down to f/2.8...

Anyone know how long it takes for Panasonic to send upgrade software key? It's been ages since I claimed mine, at least 7 mins...

Look, we can talk cameras and video as much as we like. But these guys, well ... I think there's something in this for all of us. God I hope they enter the $200 challenge.

I don't know, dogs seem to go straight for the ass

What about the Retina display YT laptop audience? Try using a MacBook Pro for a month and then switch to a 1080p PC laptop. Difference is enormous. I'd say 4K matters more at these kind of close viewing distances than it does in the cinema.

The results are in. Some are a little funny, others kinda expected but still interesting. When I counted the first time a few days ago the funny part was that J wasn't to far behind I. But I didn't expect this. (BTW, this morning J was still in the lead between the two.)

Yeah, we're all in trouble.... I feel like that when my hip flask is empty too... nice shot

Please do, I’d love to see Brighton, or wherever, from the view of a Leica... or maybe a Micro? Here’s another one from the Nikkor 28mm f/2...

Hah... how much does the 28mm go for there? It’s definitely not cheap but it isn’t too bad... I think I paid $175 for my mint copy HC version. Speaking of...

I was in a used gear shop in Tokyo and they had a 35mm f2, a 50mm f2 and an 85mm f2 at really decent prices and I was thinking "right, I'm going to have an f2 prime set then"....and then I saw the price of the 28mm and 135mm and the moment passed I wouldn't rule out me being able to make it sing like Britney without Autotune by the way.

Its unfortunate that it produces more noise than an AC/DC gig.

Just got this in my mail today. Moment Anamorphic lens for Drones.

Wow those look awesome.

Panasonic Japan helped me out with a key, so I was not a "normal customer" in this regard. The packet they send out is same process as GH5 + V-LOG upgrade. I am sure it will arrive promptly in a lot less than 28 days but an AppStore with instant delivery would have been far preferable in my view. That £2349 is a bargain but yes it's grey import from HK I believe.

Some instructions and useful links here for getting the upgrade https://www.eoshd.com/2019/07/the-panasonic-s1-codec-upgrade-is-out-now-update-to-firmware-1-2-and-redeem-code/

In case you missed it elsewhere, here's the link: https://promotions.panasonic.co.uk/promotions/promotions/view_terms/299 Go to Claim Now and follow instructions. You must take a photo of sticker on your box with serial & model no. etc and also upload a copy of your receipt of purchase. It says it could take up to 28 days to receive it though.

Hi Mattias, Well, my not being privy to the the fact that adapters might or might not be used in the various sequences at the time of voting (heck, there were pre-reveal speculations that there could well be cellphone cameras in the mix!) kept me (and others) from adding that possibility to my (our) assessments when voting. As part of my postmortem, er, "analysis toolkit" it was good to know that they were in the mix but there were too many sensor/lens combos and not enough samples of each for me to to consider adding that variable to my broad assessments and conclusions. FWIW, my fear going into this test (based on reading many of the incoming votes over at YT and here prior to my own sitting down to make my own evaluations and casting my own ballot) was that the reasons behind the numerous votes were going to be equally as random (or more) as the different camera/lens choices being presented and that coming to any concise conclusions would yield as many random interpretations...was it about the colors for this person? or the tints for someone else? perhaps the dog's pose for those folks over there? maybe it was it about the framing? or the resolution (for those who could tell)? or maybe even the focus? was it about the codecs? or the device viewed on? etc., etc., etc... My pre-vote hope, the whole while being, that you had some "method behind your madness" (an idiomatic phrase that might not translate well) and that "all will be revealed" in good time. So, when your own 3 conclusions turned out to be seemingly at a 90–180° variance to my own I was A. not unexpectedly surprised and B. presented with the challenge as to how to present my own findings as discussion points (and in a friendly conversational tone so as not to ignite some forum war. Ha!) as I truly wanted to hear the varying conclusions and viewpoints from my fellow posters here (and I did not wish to detract from the hard work you had put in. ). So I thank you for that enjoyable test and for your attention to my responses here. Thanks for harvesting and presenting that data, it's very informative (well, for me, anyway) for this test. Using, for arguments sake here (that everyone will kindly play along), that "half the computers were laptops and half were desktops" then, quite nearly 3-out-of-4 viewers participated with mobile devices while on-the-go and the other 25% viewed on a desktop-sized computer screen or larger. Sooo, what I get out of all of this is that there are some good fundamental lessons to be taken from your "blind test"...where visual production values are critical for the content producer (and their intended viewers) it clearly pays to invest in the tools that best suits ones needs and desires to attain those results, and conversely (and obviously) where visual production value (and audience) is non-critical there is clearly a lot (emphasis on "a lot"!) of leeway in ones choices for their production tools. Many thanks again for taking the time to produce these tests and results and for your willingness (along with the courage and confidence that goes along with that) to share it all here on the forum. (Trust me, your lessons went well-beyond the "blind test" for this yet-to-post-their-own-content-on-the-internet participant. :D ) Best online fun I've had all week! :) -JG

Yeah. I hit that VP9 / Safari / Chrome thing when I bought my 4k display and wanted to watch 4K content and went down that rabbit hole. Safari also used to restrict going full-screen on an external display because of DRM issues, so I read up about it and it turns out that the other browsers are fine. Now the DRM issue is gone but the 4K one seems to have replaced it. In terms of the colour grading, I did really like the colour from the EOS-R. Somehow Canon manage to make the colours very saturated without them being so in any negative artificial way, which when I grade log footage is deceptively difficult to do. One of the reasons I've kept my 700D is to use as a reference. I haven't done it yet with my GH5 but at some point I should probably setup a test scene and shoot it with both setups, then colour match the GH5 to the 700D and save that as a reference grade. Even if I don't end up using all of the steps (the 700D is likely to be far too contrasty for my tastes, for example) there will be elements of the grade that are desirable, and will translate across other lighting setups and subject matters.

It certainly shows the importance of watching it in the right browser. And people seem to pay a lot of attention to colour grading and lenses, as far as the mood goes.

i went with j and j. In the gunpowder shot, i just like the moodiness or darker frame. I have a natural preference for a low key image i think. The lake scene because i had already gone for j kinda predetermined a vote except i did a goldilocks thing and decided i was too little and k was too much j was just right. i didnt do a 2nd or third place. from a newbies perspective i think that perhaps a lot of people from this forum probably made a science experiment out of it and literally tore those images apart. however i suspect a lot of people that watch mattias's channel are a bit like me and picked images they like without too much analysis which is why j and j won. it is a bit embarrassing i have the bmp4k camera and i like it. but it didn't pick it in the contest. Don't worry i'm not that distressed, that theres going to be a bmp4k on ebay anytime soon ? I also watched it in 1080 on a laptop. With a pretty average internet connection and download plan 4k seems a little excessive too me. So i get by on hd when i can. not sure if watching it in 4k would have made a difference and going back to do it again maybe camera choice would change but then i know more now than i did before so its not that relevant and the results biased. thanks for the test matthias and the others for their input i learned a couple of things which i guess is what its all about

That MUST be satire Or about two decades old! (edit: wellllllllll... this was uploaded over a decade ago, I guess just perhaps this makes it "a little" better)

Its because Google uses VP9 only codec for its 4K and Apple refuses to add it to OS X because of licensing issues or preferences. Try using chrome browser...and see if it works.

I need a movie.

Mexican physicist Rafael Gonzalez has found the solution to spherical aberration in optical lenses, solving the 2,000-year-old Wasserman-Wolf problem that Isaac Newton himself could not solve. Now would be a good time to get a Fujian 35mm, f1.7 -- before they all become as clinically sharp as Summicrons!

2015 sensor in 2019. Well done Canon.

Fantastic news, this camera is the new benchmark for mirrorless video, patiently waiting for sales to tank and for them to slash the prices...

I have shot a plenty blue sky in CDNG and Braw and didn't find any macro blocking. So, before jumping to the conclusion that it's a camera issue, everyone one should do it's own test. (As I was the first to raise the red clipping issue, months ago, and felt the sweet anger of many BM fanboys who couldn't believe that the camera could have its flaws, I know what I'm talking about...)

I can't replicate the issue with blue sky clips. I attached a BRAW frame. Maybe I'm missing something. Only thing I can see is a lens that needs cleaning, lol. A008_06142150_C201_000.braw Pushed it a bit here to see if I could see anything, but still don't. I'll be the first to admit my eyes aren't what they used to be, though! Looking at this image after it posted, any artifacts appear to be from web compression, perhaps. It looks pretty clean to me on my monitor.

Grant Petty has nothing to do with the decisions made in PR in Knutsford. And to be fair to Blackmagic, said PR team were apologetic afterwards and in favour of reaching out. I believe it would be a very constructive relationship if they genuinely put some effort in. JB's rudeness on here is legendary, but it's in the past as far as I'm concerned, we as a community moved on from him. Hook contributed straight forward answers and good info. There are far more viewers than contributors in this post. How about some more constructive contributors to satisfy that audience of 1 million who have tuned in? Those people who are posting good info is what this thread and indeed whole forum are about. The bitching should always take a backseat.

Yes it would. But main purpose is to have voters focusing on the image and cinematography, rather than voting for their favourite camera!

"The other adapter I will be trying in the full review is the Sony A mount range, both for full frame Alpha glass – of which there are some rather nice ones, indeed some of my favourite of all time, and the superbly cinematic Minolta AF range." I also think they have a distinctly cinematic quality. It's nice to hear I'm not the only one who thinks that. Ya know, when you mention the word "Minolta" some cinematographers are like, "What are you crazy?" Fuck them. LOL.

It seems like there are more sensors than camera models!

Don't forget to take the speedbooster into account. What you see might not be the lens.

Some new additions to our extended family.

From my own results, I ended up picking the only three samples that were shot in 4k. Based on my test observations, I discarded samples that had line skipping or aliasing artifacts that were either apparent on the floating platform or in the fine hairs on the end of Gunpowder's nose. There were also a few samples that seemed excessively soft. All in all my take is that these camera makers use a fairly rough form of downsampling to achieve HD. At least on the cameras used in this test. From what I've seen on the S1 in other tests, it shots amazing HD. A few of the tests had some pretty muddy looking colors. I wonder if that was due to the variable NDs. Not really sure. The colors presented were a secondary concern in my judgement because I personally feel that as long as there is decent color separation, a final look can be achieved with some quick tweaks in post. I really appreciate the test. And I know they take a lot of time. My own take away though is that the hardware and what format you shoot a camera in to squeeze the best quality out of it does have real impact on the final results.

Interesting results! I certainly disagree with the majority here haha. Though, I suppose in an uncontrolled test, people are going to be judging different things. I tried to ignore DOF, compression, and focus, and really just looked at colors to the best of my ability. It would be interesting to know why people voted the way they did.

Counting up all the blind tests and shootout videos I've made we must be talking at least 50 cameras, probably closer to 100. The results are always the same. It doesn't matter.. If you can get hold of an R to try it out it could very well be worth the time. Personally I enjoy it. I don't own it but when buying new gear for my employer it was an easy choice. There are always "ifs" and "buts" to tests. And conclusions are about as subjective as color

"Rather than love, than money, than fame, give me truth. I sat at a table where were rich food and wine in abundance, and obsequious attendance, but sincerity and truth were not; and I went away hungry from the inhospitable board." —Henry David Thoreau, Walden (1854) One of the biggest influences in my life.

But spamming never dies

One of the criticism made over Deleuze is exactly the fact he was used to explain maths and science concepts with no much care if Mr. and Mrs. Sixpac had effectively any idea about them. The criticism over the critics resides essentially in the lack of two Aristotle mutual concepts: memory and whole, ignoring the wide contributions of Deleuze such as deconstruction, as for instance. So crucial to filmmaking in any of its several departments to join the parts and make some sense, if any, to the piece when together... ; -) http://maddalo.blogspot.com/2009/12/derrida-and-deleuze-differences-of.html The proof is the way his rhizome spreads in so many influences suffered by us, our contemporary counterparts. Here is merely the fine crocodile example over yours -- I'm sorry if I'll sound too unfair now! LOL : ) https://thoughtleader.co.za/bertolivier/2015/06/15/what-is-a-rhizome-in-deleuze-and-guattaris-thinking/ I invite you all to read the entire article, however here is an excerpt recalled by your post ; ) "In Deleuze and Guattari’s work “rhizome” is roughly the philosophical counterpart of the botanical term, suggesting that many things in the world — to be consistent, if one follows the direction of their thinking, “all things” in the world — are rhizomes, or rhizomatically interconnected, although such connections are not always (in fact, seldom) visible. Animals or insects that live symbiotically appear to be an obvious example, such as the little birds that clean crocodiles’ teeth when these reptiles bask in the sun with their huge jaws open: instead of eating the birds, the crocodiles let them feed on the bits of meat, etc, between their teeth — their teeth are cleaned, and the birds are fed, in this way forming a rhizome. After all, when one sees them separately, few people would guess that their species-economy is rhizomatically conjoined. Another way of expressing this in Deleuze and Guattari’s language is to see the birds and the crocodiles as an “assemblage”, which forms part of a larger assemblage or rhizome, ordinarily referred to as an ecology, or (biologically) interconnected totality of heterogeneous entities or, more precisely, processes “differing in rhythm and speed”. Bees and the plants whose flowers they visit to gather pollen comprise a rhizome, or an assemblage, just as a book does, according to Deleuze and Guattari in A Thousand Plateaus (p. 4). In short, the rhizome or assemblage is a model that functions as a “crystal” of sorts regarding Deleuze and Guattari’s ontology. Insofar as, petrologically speaking, a crystal concentrates in itself layers upon layers of a mineral, metaphorically stated, the rhizome (or an assemblage) denotes the layers upon layers (“laminations”, perhaps) of the relationally interconnected, dynamically and quantitatively as well as qualitatively differentiated constituents of rhizomorphic reality. To comprehend their use of “rhizome” Deleuze and Guattari enumerate some of its characteristics, as distinguishable from an obsolete way of thinking in terms of “arboreal” metaphors like “root”. As far as “principles of connection and heterogeneity” go, it means that anything can be connected to any other thing at any point (p. 7), unlike what “arboreal” root-discourse presumes, which is the foundation of binary thinking. Then, regarding the principle of “multiplicity”, it has to be thought of “substantively”, as that which has ontological primacy, not merely as “the multiple” (p. 8). Whether we like it or not, we live within multiplicity. In this regard Deleuze and Guattari observe (p. 8): “A multiplicity has neither subject nor object, only determinations, magnitudes, and dimensions that cannot increase in number without the multiplicity changing, in nature (the laws of combination therefore increase in number as the multiplicity grows).” It seems to me that what follows is the increasing complexification of the world, as more people are born (than those who die), and as more ontological levels of multiplicity emerge, which necessarily interact with others. Think of everything that one encounters in “virtual reality” or “cyberspace”, and the impact that these phenomena have on concrete social reality. Since the advent of the internet, the complexification of the world through increased multiplicity has accelerated." CONT'D On Gilles Deleuze, we can invariably say too little in the teeth of his contribution when not only key for modern cinema and media, as well, the digital revolution, but crossing the most various zones of the man of nowadays. If someone thought the modern man of XXI century, this man was/is (his legacy didn't die in that autumn day) the most important thinker of half-century before. In a very personal Joe's line of my own still puzzled two decades later: what a feat! E : -)

The reclusive American philosopher Joseph Sixpac had this thought on deterritorialization:

It is allowed. Fun competition. The rule book should not be 100 pages long.

I've mentioned a few times over the years that this lens is limited & not very practical for many filming situations, but I suppose most people don't like searching too far back into the forum's history. It is a nice little lens & the glass is superb, but best for situations where you don't have to film past 5M & you'll need low powered diopters. You can rack a little, maybe a meter or 2, but not over a long distance - you need a taking lens with a decent amount of focus throw at the 5M mark & the use of a +0.3 or +0.5 helps, as does stopping down the lens a little. I used it for filming concerts, so it was ideal for this as you could focus a little without having to change the diopters all the time & with strong stage lights it flared as well. You can film past 5M, but it won't be tack sharp & Infinity is not an option. I've no idea how much they go for now, but you'd get better value for money going for a dual focus & then add a variable diopter.

Full Frame AIVASCOPE 1.5X single focus anamorphic lens on Sony A7S II + Panasonic S1 I have the (quick) opportunity to film on full frame such as Sony A7S II and Panasonic S1 with the new AIVASCOPE 1.5X single focus anamorphic lens. It’s the first time I’m filming with A7S II, sorry for the overexposed shots. With this experience with the A7S II, I think I prefer the GH4 -it’s video codec rendering and it’s viewfinder- I just have a few time and a very few lenses. The 40mm is maybe too wide and vignetting with the Avaiscope, especially on close focus, also because of the ND filter. It’s better to film with it from 50mm. Some of the shots had been slightly cropped. The M42 Vivitar 135mm was just used here to show more the anamorphic bokeh. The Pentax-dfa 100mm f2.8 is also not really adapted, it was quite hard to focus with it, but the background is more out of focus. The Panasonic Lumix S Pro 50 mm f/1.4 is really not adapted it’s vignetting, due to its depth and maybe it’s filter large thread (77mm). We will see when there will be adapters for the Panasonic S1, to provide shorter vintage lenses. The Panasonic Lumix S 24-105mm at 70mm at f/4.0 is obviously not adapted (the last four shots), anyway its a zoom, not surprising… When I will have another access to the A7SII with better adapted primes I will do a much more proper test. Thanks for watching. Comments are appreciate. AIVASCOPE GH4 test is available here : vimeo.com/341289409 filmed with (no Color Correction) : Sony A7S II 4K UHD 24p with Pentax-m 40mm f2.8 btw f2.8 and f.5.6 Vivitar 135mm m42 at f2.8 Pentax-dfa 100mm f2.8 at f2.8 and Panasonic S1 4K UHD 24p with Panasonic Lumix S Pro 50 mm f/1.4 Panasonic Lumix S 24-105mm at 70mm at f/4.0 thanks to Aivascope Pascal from real factory for the Sony A7S II, Emile, Emmanuel, Tchi-Kung thanks to Panajou for the Pentax 100m and for the Panasonic S workshop thanks to Bernard Bertrand, and the model thanks To Chahut Festival thanks To the people in the streets of Bordeaux music : Robbie d. "Crushed" Corrina Repp "Woods" AIVASCOPE is on facebook facebook.com/aivascope A Seb Farges movie vimeo.com/sebfarges