Leaderboard

Neil Armstrong and Buzz Aldrin used to mention this sort of feeling whenever they saw films set in the Nevada desert.

This is a bit like asking "is Bugatti making an affordable car for soccer mums to drive?" Technically they could, but I'm almost certain they will not. Because it would absolutely ruin Bugatti's brand image and everything they've been doing in trying to craft that. The ARRI Mini & AMIRA was their "cheap" cameras. (and they are, relatively speaking. Just compare their price to an ALEXA SXT W) Their "certified ARRI" refurbished programming selling ARRI ALEXA Classics are their "cheap cameras". I see it as extremely unlikely ARRI will bring out a brand new camera priced under $10K, and the chances of them making a sub $5K camera? Nil! However for RED, it is somewhat less surprising (it could be argued the surprising factor is why hasn't RED done this earlier?). Because it has ALWAYS been part of RED's branding that they're the "affordable / budget value" option. That is how they've positioned themselves from Day #1. (of course back when RED launched, a camera could be very very expensive and still be massively cheaper than the cinema cameras from competitors! And with time RED trended up into the higher end markets, but even then RED still presented themselves as "giving you more for your dollar, that their cameras could do more and thus are better value) Minor side note: I do remember years ago there being serious talk/rumors about ARRI making an "ALEXA Academic Edition" camera. Which would have been identical to their full size ALEXAs but limited to only 720p and only allowed to be sold to educational institutions. This did make a lot of sense I thought, by limiting it to 720p they're still protecting their branding/value/pricing strategy for the commercial sector, event though this variant would be sold at a much cheaper "educational pricing". While at the same time, getting in to catch them young a new next generation of filmmakers while they're still at film school. Get them learning on and loving ARRI cameras, ready and experienced to use them as soon as they graduate, instead of having the universities buy RED Epics for their students to learn on. Is a pity it didn't happen, and I don't think it would make sense to do this now. But perhaps if after the ARRI ALEXA Mini 4K S35 gets launched this year (which ARRI has signaled in advance already that it will happen, 2020 is the year they're launching their brand new S35 4K sensor) then an "ALEXA Mini 1080" (using the original 3.2K sensor, but limited to 1080, and with a body identical in design to the Mini) at special "academic pricing" (exclusive to educational institutions) could be a smash hit with students.

Seems to get good reviews https://www.amazon.co.uk/ExpoDisc-Neutral-Portrait-Balance-Filter/dp/B00GUQJZCW/ref=sr_1_3?keywords=expodisc&qid=1579208829&sr=8-3 "A must for colour blind photographers!" Or colour blind cameras for that matter!

Etc... https://www.youtube.com/results?search_query=sirui+anamorphic&sp=CAI%3D

I always considered the NX 16-50mm S a better lens. 2f in most of the 18-35mm range (so, just 0.2f difference), wider at 16mm and a lot more tele at 50mm and incredible OIS.

RED's reputation has been hurt recently, so it makes sense for them to try to grab lower end customers with a cheaper camera that uses non-proprietary accessories. People thinking "RED sucks it's so overpriced" will probably be ok with the Komodo since it's so much cheaper. People who own one will likely stick with RED and upgrade to something more expensive later. It's what Mercedes does with the CLA or A class, for example - They're grabbing younger people with less income and building brand loyalty for later in life when the same customers have better paying jobs. Arri's reputation has been, and probably always will be, that it's just the best option for most situations. Part of that prestige is that the price makes it inaccessible by all but the highest budget productions.

Thought I'd share some grabs from some 4K60 I did last year. These are graded WITH added film grain. It was too clean without it ? Don't mind the lack of sharpness - I was shooting wide open at T0.95 on an SLR magic

I think that Arri are currently quite comfortable concentrating on and dominating the high end market.

Maybe this site should be renamed ANTI-EOSHD? While Netflix is technically TV, Canon was all over the Oscars documentary category last year: https://***URL not allowed***/oscars-2019-all-nominated-documentaries-shot-on-canon-cameras/ And in this years 2020 nominees, one of the most talked about docu, American Factory (first film out of Obama's production company) was shot on... a 2014 C100 mk2: ..ironically it was picked up by Netflix at Sundance (and is currently streaming on the platform). So while many seem to obsess over "Netflix approved" cameras, this seems to prove that shooting great content will always trump camera specs.

Hi, as I wrote in my blog article, field tests are missing and I am interested to learn about the practical impact myself. OTOH, external 10 bit N-Log may be just as good and may have less risk of flickering (between frames) at lines, edges or fine regular structures like roof tiles or fashion texture. That would be the real-world test I am most interested in. @gingercat That's absolutely not the case here. The topic has been dealt with in replies above.

Hey guys! Got a stupid good deal on Zeiss Distagon 35 f2 T* i’m getting it next week. $300 Anyone used this? Comments concerns i should know about? I already have FF gears that will fit but just wanting everyone’s experience with them. Either way, I plan on sharing usage over with my photo camera too.

I was watching a TV show last night and they had some cool spy vs spy stuff through the streets of Hong Kong, and it was shot well, had great colour science, the story was engaging, but it felt like a home movie. I've watched several seasons of the show and other sequences didn't have the same feel. I worked out that it's because I'd been to where they were filming. I've increasingly noticed this trend - if I've been somewhere then it doesn't seem so exotic anymore, it doesn't have that 'other world / smooth / detached' feeling that something being 'cinematic' feels like to me. Some of my favourite travel videos have transformed over the years from spectacular experiences to slightly awkward sequences of shots of places I've been. Does anyone else find this?

haha, I figured. A little bit more regarding the P1: Seems pretty stable and all. Just the motion/transition in movements seems a bit robotic on/off, rather than organic. But I believe he said he had the same feedback and that they were trying to see to address that with firmware. Btw. Is it me or does it seem like Sirui's been sending gear to try to relatively small channels? A bunch under 2k subs, this particular dude 67:

LOL Loved that one! : ) Exactly my idea... ; )

Ironically, the very day after I was wafting that thing around proved that when it comes to politicians that rule certainly doesn't apply either ! The Expodisc balances a bit warmer IIRC One of those times when the knock off is actually a bit better!

Ok thank for the answer! Gonna try with slog 2 or 3 and see if there isn't banding during color grading. Hot? what do you mean?

This is exactly why I think Panasonic with stay with MFT at least through the GH6. They have a massive group of users that want a full featured video camera for ~$2000. MFT lets them do that. It's impossible in FF at least in 2020.

I think 1917 did a great job of keeping the film exciting, but it is not "action-packed" like most action/war movies. It feels very realistic. It's more stressful and tense than high-flying action. And, like in real life, any fights are messy and realistic. I really think they toed the line very well of action and reality.

That lens would probably make the 10-25 look petite. Not sure how I feel about that as a 10-25 owner. I’m sometimes wishing my 25mm could stretch to 35mm. I’m of the opinion that FF f/2 DOF is the lower limit for me. It’s just enough, not too much. The f1.7 with f/3.1 FF equiv. DOF is a sweet spot (on GH5S sensor; 3.4 on MFT) falls nicely in between FF f/2 and f/4. Easy to manual focus, DoF isn’t distracting, ability to get nice out-of-focus areas at the longer focal length and shorter distances when you want to. Maybe the 14-50 f/1.8 should have been the lens they should have made instead of the 10-25? It’s like the perfect do-it-all lens.

Olympus Four Thirds 14-35mm F2.0 is a very good lens. They had the skills to make it a long time ago. Would like to see a 14-50mm F1.8 from Panasonic when GH6 comes out. Really push the boat out

Click the top one and make sure you have "color managed" selected.

A colleague of mine just bought one unit same specs, brand new, sealed box, $550, same seller from the contact forwarded from me. He told me they still had a few units in stock. Seems old stock. I've just written them to ask for replacing the one I bought used ($400) paying the difference obviously.

Just to make the matter less abstract, the problem of scaling a 6K Bayer pattern into a 4K Bayer pattern is that this... ...needs to be turned into this: Which is only possible with weird interpolations. Or, on a larger scale, if you have 3x3 of the above four pixel groups.... ....how to scale them into 2x2: However you do it, it will result in weirdness, since you're not actually interpolating adjacent color values (as you would do in an undebayered image).

"Difference" in what manner? In terms of ROI? Yeah, I'd say the difference for most people is quite significant. You'll see two dozen job adverts for a "FS7 shooter" for every one looking for a C300mk2 owner.

No way would a Panasonic L Mount FF mirrorless camera priced substantially under the S1 have all of the features that would be in a GH6.

Yeah the DZOFilm 20-70mm T2.9 might be the closest we get to the kind of affordable 15-60mm T2-ish PL/F lens I dream of. HOWEVER.... big difference between 15 and 20mm, even 18mm vs 20mm is quite noticeable when we're talking about 2mm here on the wide end. And it gets much much worse... this is MFT only, so we can't use it on PL / F / EF Mount cameras. And also, the fact it is designed specifically only for MFT Mount means I highly suspect if you adapt it to E Mount then it will not cover S35. (otherwise DZOFilm would already be offering it in E Mount, as a S35 E Mount would be a massive market for them to sell affordable cinema zooms to) So while I'm excited to see this very cheaply priced mid range zoom for MFT (yay!), it still falls far short of what I'm dreaming of.

More oversized camera sensors is good! Allows for features like multi aspect ratio, or getting more out anamorphic. The GH1 / GH2 were a bit like this as well. damn, that's a really good idea THIS! YUP! And I would indeed say that is a form of "cluelessness", the very worst kind, which even builds up a resistance to even learn about anything else and give them a try.

Is very subjective what is "off brand" or "unknown". Plus isn't the entire point of forum discussions like this is to learn about new things? Thus by definition they're "unknown" beforehand. For instance @kye just mentioned he didn't know about how cheap the Z Cam E1 is, if I'd posted about a special on that would it be an "unknown off brand product" I'm promoting?

They're just such radically different cameras, puzzles me how someone can swing to considering an a7 one moment to GoPro the next! (or even the reverse, GoPro to a7) They were even selling for sub $200 brand new, is a pity the current eBay prices don't reflect that. (the Z Cam E2C is another really cheap Z Cam camera if you're not aware of it, pricier, but close in price to the E1 than to the E2)

Hell yeah, how good would those Fuji MK lenses be on the BMPCC6K?? ? But sadly you can not, because BMD chose EF instead of MFT. Also I think Z Cam posted something a little while ago about working on an APS-C MFT camera?? I think. Don't keep up with their latest up to the minute news at the moment.

Canon APS-C sensor measures 22.2 x 14.8 mm , I don't remember howls of protest about Canon not being "Super 35". And JVC has put behind the LS300's MFT mount a significantly bigger sensor than that. The majority of third party lenses for MFT can also cover APS-C / Super 35, as they were originally designed for that sensor coverage. And a good chunk of Panasonic / Olympus lenses can cover APS-C as well. Even for those which don't, all you usually need to do is a slight punch in (which the JVC LS300 can do automatically in camera, a variable amount of your choosing) to say 90% then you're good to go. Plus, just because a camera CAN DO "SOMETHING" doesn't mean you must do it. Just because a camera records 4K doesn't mean I'll always be recording in 4K. Just because it can do 120fps doesn't mean everything will be in slow motion. Just because it has 10bit doesn't mean I can't use 8bit on a shoot. Is all about having the flexibility to choose the right tool for the right moment. Need to go run and gun on a reality show outdoors? Put on that Panasonic 14-140mm lens with its massive zoom range. Need to balance the camera on a small handheld gimbal? Put on that teeny tiny SLR Magic 8mm f4 ultrawide angle MFT lens. Want to shoot a short film with a juicy set of vintage S35 PL primes? Then put on a PL adapter and use that whole sensor. Want to have that "Vista Vision" look with super shallow DoF? Then whack on a focal reducer and use your Nikkor 50mm f1.2 lens.

Just make a camera with an adaptable mount and multi-aspect sensor with JVC's VSM and problem solved. Marketing: Use any lens you have!

HP i7 processor, 16GB RAM, 256GB SSD, $700 new, $400 used. I have a US distributor. If you want, send me a PM. I can send you their email address. New comes with two years of warranty here in Europe just because of European legislation and they told me they cover US warranty in the same way. I guess in the US it is only one year. Used I bought it with six months. Same supplier.

Oddly enough, you'll actually see a Renault engine on some of them, including the A class. https://www.smartmotorist.com/mercedes-engines

I've used it quite a bit, yes, and totally agree with you. I even said that I think the C300 II produces a MUCH better image than the FS7. What I mean by "blew it" is really the price compared to what else it offered besides a beautiful image. That's my main concern, which is why after using a Sony for a bit, I went back to using Canon and/or Panasonic, but for a lot of people, the FS7 offered more (4k 60fps, 180fps in HD, ability to speedboost it, high bit rates, etc) for about half the price. I'd still take the tradeoffs for a better looking image at 24p (which is 85% of my work), but there are plenty of people who need all the other stuff the FS7 offered or wanted to save $8k. As an actual image-making device, it's a fantastic camera. Just released at a weird time at a pretty insane price.

In the "Blackmagic Pocket Cinema Camera 4K" thread it is mentioned that the sensor stack thickness of black magic sensors (being that they have a thinner sensor stack) may cause issues with the image with lens not designed for a specific sensor stack thickness. There is a mention of the Sigma 18-35 f1.8 being basically immune to this issue due to the fact that its is a very telecentric lens. Kisaha wrote in that tread : "3. How telecentric the lens is. (More specifically, how far forward the exit pupil of the lens is.) A lens with the exit pupil far away from the sensor is not affected by the thickness of the sensor stack very much. A lens with the exit pupil very close to the sensor is affected a lot." and drm wrote: "3. The Sigma 18-50 f/1.8 lens is pretty much immune from the problem because it has an exit pupil distance of 150mm." As sigma does not make an 18-50 f1.8, I assume he is talking about the 18-35 f/1.8. So the physics of the Sigma 18-35 f1.8 with its exit pupil distance of 150mm makes it very telecentric, which may explain in part why it is hard to beat as it finds itself on so many different sensor stacks thickness and still maintains its image quality. The telecentric quality of the Sigma 18-35 may also allow the image to stand up better when running through additional glass like a speed booster.

I processed the first frame with Resolve and with Rawtherapee (which includes very fine-grained, expert debayering controls). When tuning the debayering in Rawtherapee, choosing AMaZE as the demosaicing algorithm with 'border' set to 4 and 'False color suppression steps' set to 5, the result is visibly better than from Resolve, but still far from perfect - see the attached frame grabs: Rawtherapee Resolve

Lol I probably jumped the gun with that GIF ? I know it seems like a s35 sensor behind a mft mount comes with lots of drawbacks, but honestly it doesn't. This is something many of us discovered at the release of the LS300. The implementation was honestly amazing. You saying you guess there would be significant drawbacks is sorta the point we're making - everyone dismissed the camera because it didn't seem possible, but it was! Just a sad missed opportunity for cameras that came afterwards.

Yeah I don't think they care about the low end market. I have a friend that works at a rental house in LA and he says the Alexa Minis are still the 1st pick.

? I wish @Andrew Reid had reviewed it. It didn't get nearly enough attention and still is an excellent camera. I do hope they were serious about releasing a follow up. They really thought outside the box with the LS300 and supported it with updates/features long after most companies do. Of the "big companies" only Panasonic has done that

I have only surface level knowledge, but any time your lens is longer than your FFD, you'll need extra lens elements to provide a "reverse telephoto." For example, an 18mm lens on an EF mount 44mm from the sensor. The extra elements introduce aberrations, which require more elements to correct, and so on. Add to that the complexity of making a zoom lens in the first place, and you quickly rack up size and cost. That's one reason there are smaller wide angle lenses made exclusively for mirrorless mounts, such as the SLR Magic MicroPrimes. On the telephoto end, it's simply the sheer size of the lens elements required. As focal length increases, the physical size of the aperture also increases to achieve the same f-stop.

It's been done - the JVC LS300. Fantastic implementation, too. It just wasn't popular enough of a camera to spark a movement.

Shooting with it yesterday on a C300 II and I had the same thought - really wanted it to be longer. It's just too limiting, but the f1.8 aperture is too good to pass up. 16-55 f2 would be amazing, but I'd take an 18-50mm f2 in a heartbeat.

I'd rather they come out with a radical 15-90mm f2.8 lens instead

Because no one cares about APSC except for Fuji.

I did address it to you. Just pointed out that part is what i objected to. Look, you can have an opinion that YOU do not like Sony (or any camera or brand) if you want but to say that a brand is not used by serious photographers or videographers (and especially one that is selling quite well) is simply trolling as well as being absurd in my opinion as well as being insulting to the many people who make their living using such gear. You don't like it, fine....others DO. I like all the brands of photography gear I have used and just occasionally do i not like a piece of equipment. I never got on with a Canon 7d for instance but that does not mean others did. I almost never watch Tony and Chelsea and have not for a year or so and last I was aware of there were just a few more Sony Users than the Northrup's. No gear is perfect ...for ME, the A7s (first version is still the camera I want and use), for others it would be the last thing they want...same with the newer higher FF Sony's and all those cameras from any brand. Yes, Sony has a colour issue for many people (not all) but equally, other people find greater limitations with different brands. I think the main issue is AWB for Sony and I mainly use Jpegs and do not grade the songs i video....I do not consider myself to be anything but an old amateur but my photos and (odd video) do get used by newspapers, councils, record companies, bands and others from time to time. I have to use RAW with my old Canon DSLR as there is a noticeable difference but with my A7s, not so much.

This looks like a sincere question to me. I withdraw my claim you‘re trolling and apologize. I for myself have a professionally printed A2 version of my test chart. However, for a zone plate chart, even that shows signs of remaining printing artifacts. And Marc doesn‘t have any usable printed version. However and because we only needed a small fraction of the test pattern, there is an established alternative in the testing scene: monitors! As odd as it may seem at first glance, they can be put to good use if a number of rules are respected. I know about at least one professional lens calibration company which is using monitors to display test charts. The most important rule is that monitor subpixels (their projection when photographed or filmed) must be MUCH smaller than a sensor pixel. Other rules are that the test pattern must be resolved with no aliasing, and that there is no flicker. We obeyed these rules. Which is also why we know to have no extra moiré effects from the pixel grid. It is also the reason why: 1. the monitor shows a small fraction of the test chart only, such that the remaining part is fully resolved by the 3840px wide monitor. The original test chart is 8400px wide and 9.6MB large. It‘s pixels are displayed at 100% or 1:1. There is no moiré in the screen display to the naked eye. The test chart file was carefully created to avoid aliasing as much as possible, by myself. Which is no easy task for a zone plate chart. 2. the monitor appears so small in the video, as it is far away. This makes the monitor pixels and subpixels disappear completely, there are more than 10 monitor pixels per camera pixel ... Hard to beat with any printed chart! It also ensures that we have spatial frequencies beyond 4k to test for. This is crucial for the test and any attempt to reproduce our results! 3. minor sources of blur (lens, focus, motion) destroy results as we depend on high spatial frequencies being resolved. Btw, the article DOES contain a link to a test video before cropping.

Would've been faster to just have said to him "Ok boomer"

Hi everyone, sorry if I intervene to do a little spam but I just wanted to inform those interested, that the second crowdfunding is underway to get the Magic Booster 6K. Thanks https://www.produzionidalbasso.com/project/magic-booster-pocket-6k/