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Please delete my previous post. I thoroughly enjoyed my time with Z9. If it wasn't for physical size, it would be my favorite mirrorless camera ever. I hope some of the video features will make it's way to the new generation of Nikon bodies. All I want is internal ProRes HQ.

Still got a "great" VariND that turned my FD 35mm F2 into a focus pulling nightmare due to its glowyness. @kye Anyway, I got a challenger now, if a fixed lens Super 16 4K machine counts. I think it does. If a LX100 would qualify I think a LX15 should just as well. So here it goes, I got not only one of them but two for the used price of half a camera. Now take a guess 🙂 Here is some fun clip I did with it. Now, if a hack would give me 100mbit HD with it, then we would be talking! 28mm 1.4 eq lens! Which turns into 36mm eq in 4K crop.:)

It is not the kind of lens that is the central talk here, but holy shit, the Viltrox 85mm f/1.8 is sharp (and the DOF, even in a Fuji APS-C, is very thin). Photo and center crop.

Yeah it seems pointless to use BM colorspace and ruin the great color the sigma has.

Hi, I'm Paolo, i'm so excited to discover this website !!! Finally someone that tries to solve log problems on cameras ! I've got a question : I'm a nikon z owner and i want to know if this z log profile works on my z6II in all rec format ... Thank you and have a good work !!

What I understand is that the Blackmagic Design Color Space and Blackmagic Film Gamma was specific to Blackmagic's cameras like the original Blackmagic Cinema Camera and URSA 4.6K. The conversion will be inaccurate but some users have found it pleasing or workable. I personally compared the DNGs as P3 D60 and Linear to the URSA 4.6K in Blackmagic and found the colors to be more accurate with a transform to REC709 and with the tone mapping tool better access to the highlights from the Sigma. I think as the Sigma happened to use DNG people just started using the Blackmagic gamma because it gave you an instant log to grade but since Sigma had not given a log profile for it, it's linear, then it's most appropriate to transform from linear.

I would not trust Lecia for the image pipeline over Sigma. As of late the only thing Lecia seems to be good at is skinning Alligators and hanging it on their camera bodies, at as rather high inflated price I might add. I don't see any rise in my Levi's anymore about Leica, well at my age not happening anyways. Hardy an innovator in the world these days. Sigma, Sony and Fuji MF come to mind to me anymore. Panasonic is up there also, Leica ehh not so much. They were the cats ass years ago. Now I don't think even dentists are buying them. Collectors that never even take the plastic of the carton are their target now.

That is all the world needs is a $6000.00 Leica Sigma FP-L. Lord didn't we have enough of the Panasonic knockoffs for 3 times the price.

ha! Niiiiiiice pick, but sympathies extended to your weak willpower. I understand.

I think an earlier Bosma camera appeared at BIRTV in 2019, but here are the two more recent models shown at NAB 2022 (sorry for the subpar image quality): I think that the one with the AC-side LCD screen is brand new.

Here is a video with more details. They appear to be broadcast oriented, and Bosma seems to have some affiliation with Astrodesign.

So this is funny... just a couple days after posting this a friend gave me a really, really good deal on a Panasonic S5, and so I am now the owner of a Panasonic Lumix S5 🤦‍♂️

4k raw is obviously pixel binned, but pixel binned NRAW seems cleaner than pixel binned ProResRAW.

Till this day I still believe autofocus can not be relied on for video purposes. If anything, for video, if I need to be absolutely sure everything will be in focus I'd rather use wide angle lenses. Better be safe than to be sorry!

I've been waiting on Nikon to stop being the sleeping giant I've believed it to be in the video department since the D750 release, and from the IQ I'm seeing from N-RAW we might just have a contender for best video image out of a mirrorless hybrid body. I hope this isn't hype, so I'm waiting for more videos to surface. Color fidelity is outstanding. Image is detailed (cinema body league rendering) without looking mirrorless "sharp". DR isn't lacking. Highlights look serviceable..

Hey Guys, long time Bolex 8/19 shooter here.. I need some help. I took my 8 / 19 in to have the rear element cleaned (had some haze forming) and when I got it back it wouldn't focus to infinity anymore. Needless to say I regret this decision. The tech that cleaned it is no help getting it back to proper function. It focus out about 10 feet or so, I reached out to Bernie at super16 (saw his info on one of the other posts) but very sadly he has passed away semi recently. Does anyone have a technician they have used for to maintain or repair their adapter here in the USA? any help or expertise would be greatly appreciated. than you in advance.

Therein lies the quandary. These smaller cameras are sort of meant to be a Run N Gun solution. And that is the time when you need super-duper AF. For photos I think they work fairly well, probably not for sports, but for video that is a tough one to overcome AF wise. Face and Eye detection seems to work pretty well in the latest cameras, but not much good for most action video wise. It sort of sucks that the GH5 is so damn good image stabilization wise that it is let down by spotty AF results. And I am sure the stabilization is even better on the GH6. I guess we will start to find out on real life usage how well AF really has been improved in the coming months.

The thing that's painful is that the AF is so nice on my Panasonic S1 and S5 is SO NICE... when it actually works!!! The fact that the lenses like the 24-105 f/4 have minimal focus breathing and pseudo-parfocal ability* just makes it even more frustrating. I don't use / need autofocus that much currently, but would like the ability to rely on it in the future for more run-and-gun shooting.

Update: I pried the fucking thing off with a screwdriver. Everything still works properly, but I added a few scuff and scratched to the aperture ring. But now I have to get to work, so I'll have to wait till tomorrow to shoot some actual test footage.

Yer the lack of an articulating screen is a real bummer, my canon 60d from 10 years or more ago has one.... Times are tough no doubt about that, i'd hate to be a business owner or company right now regardless of the type of work. Smart phones are wonders of technology, in comparison i feel cameras / video cameras are lagging or dragging the chain perhaps. No one company wants to put a camera together with all the bells and whistles. Not saying i want a calculator on my bmp4k but you know what i mean. Magic lantern did amazing things for my canon, you'd expect canon and magic lantern to jump into bed with each other and sell zillions of cameras, yet its the opposite, touch our cameras and we'll sue your pants off. After the timer incident on canons later cameras, and the way they segment the camera market, well i don't have much love for canon anymore. I do like my p4k, i cant imagine how they could make a cinema camera much easier to use ( apart from a flippy screen ) All i can suggest is you do your research, if camera b has a few extra points in your favour buy that. Your the one using it.

Yeah the S5 is there really to compete with the Sony A7 III, offering better video quality for same price or lower. The S1H is where the real interest is for me

Don't tell anyone, but since getting my S1H, the S5 just doesn't compare in any area except maybe size and image quality. Build, handling, controls, the way everything clicks, shutter sound (sublime), rear screen articulation (the best rear screen ever designed) & resolution, EVF and actually, I quite like the weight of the thing which is basically 1kg/2.2lbs and gives a good stable platform for handheld work. And in regard to the whole size and weight thing, it's smaller and much lighter than my old Nikon D3S's, especially when you added in the 24-70 and 70-200 they went armed with...and then compared with the Sigma 35mm and 65mm f2's that are my new lenses of choice, no contest in the size & weight department. The S5 is going to static longer form duty with the Sigma 28-70mm f2.8 for all video work and when not doing video work, it will be my stills 'special' such as sticking on the 20-60mm for the wide end or the 85mm for longer stuff, or if I really need it, the 24-105mm f4 in APSC crop mode for it's long end up to '160mm' reach. Plus it is my other 'personal' camera. The Sony ZV1 is for family trips etc, but going say hiking in the mountains, the S5 with the 20-60 is the one. I'm a fan of the entire L Mount system, but especially the S1H and Sigma glass. I like the S5 but love the S1H and will be getting another as soon as the working/funds situation allows.

I find Panasonic are leading the entire field when it comes to actually seeing the image you are shooting. The brightest and best screens. The biggest EVFs. (Well, apart from the S5)