Leaderboard

From a historical big picture perspective then the FX30 is a lowlight MONSTER! And for single cam productions, then yeah even "studio work or a bigger crew" then the FX30 makes sense as a B Cam. (certainly is so when compared to say the Fujifilm or Panasonic mirrorless, or even the Blackmagic Pocket)

What REALLY happened to DPReview?

In a blink of an eye we're going to enter the "Web 4.0" era within a few years, when there is more AI written content on the internet than there is human written content. And you won't be able to tell the difference.

It apparently will be called the ZV-E or ZV-E1 and seems to essentially be an A7Siii in the rangefinder-ish body of the A7c. The following specs are from rumour sites so take with a pinch of salt but if this is accurate then it will be an interesting release. 12MP sensor from the Sony a7s III 4k 60p and 4k 120p video (no crop) Max ISO of 409,600 No pixel binning AF from a7R V, but it has even better detection New AI features Priced expected to be under $2,500 4k 120p could come later with a firmware update

Ironfilm and others with some working experience with Sony give arguments for using the FX30 in an Sony eco system of larger cameras, making it a good Bcam to a FS7 or FX6. Timcode. S52 has a mechanical shutter, EVF, making it a great photo camera also besides being a great video camera. It sports 10bit 4k60p in S35 just like the FX30. The S5ii also comes with the additional benefit of full frame 6K open gate up to 30p, anamorphic modes .. And a swivel screen.:)

Would estimate it to be one stop less sensitive than the Lumix S series, which is indeed a treat.

Shit I just pissed in my mouth made me LOL

Viagra and steroids in horse doses too.

Don't even need the hack - the GX9 have Cinelike D and V natively with firmware 1.1 🙂 Used a lot with Leeming Lut, lovely colors. My mentioned better colors were in stills - best colors in all the GXs that I had.

You are right, community is joy. 🙂 Have a great day!

What do you mean by "Resolve FUJI LUT"? I use the official Fuji Flog/Flog2 LUTs to convert to Rec709. I'm not aware of any particular Fuji LUTs in Resolve aside from the film stock emulation ones..? With cameras like S5II or FX3/FX30 you can indeed import custom LUTs which is great but not the same thing as Fuji film simulations. There are a bunch of parameters in Fuji film simulations that you can tweak and dial-in to create what they call "Fuji recipes". For stills that even includes film grain size, type etc.

Hacked cameras are fine if you’re a hobbyist YouTube filmmaker and you like experimenting but on paid sets, things like Sdi, shutter angle, video assist tools, timecode, full hdmi, long battery life, reliability and a big screen definitely helps, especially on long 12hr days.

You can have the best of both worlds I believe with your own custom LUT baked into your Jpeg and also have a clean raw file if you over-cooked the baking.

Really appreciate it. I value your input. I’m not a pro. I’m using for personal use but an analytical person into many different areas. Love reading through the board. I pose questions I’m curious about because I don’t know the answer and enjoy reading the banter between members. I’ve learned so much. I’ve made videos for students and athletes I work with etc and they enjoy it. The quality has improved from reading here. We all need community hence why we join forums etc. that said, a lot of good comments here, aside from the snark, and appreciated ! The fx30 sounds like a great a cam for folks like me who do run and gun with no formal lighting, may not be a lowlight monster, or a b cam for studio work or a bigger crew. S5II and xh2s seem like worthy competitors. The BMPCC stuff doesn’t seem geared to single shooters when the aforementioned cameras exist.

@SRV1981 My cheek in tongue tone was not necessary. After all I can choose what to read and what to comment on. I could have recognized the joy of dicussion instead. I will just do that now. sorry for sounding so harsh. Enough stuff for everyone to choose from. I have not posted my own stuff for ages btw.🙂

^^ Anyone responsible for paying the crew's wages probably wouldn't choose to shoot a feature on a...

Hmmm. My understanding is that a major reason for the almost exclusive use of Arri for serious movie making is the fact that if the camera goes down the Arri network is so good that another will be delivered within hours. I should have thought that kind of protection against downtime would be just as important (if not more) on a low-budget production.

People. I live in Paris, France. I do event, docu, run & gun, fashion, art, music etc. While I shoot professionally with Sony/Canon.. I'm looking to go back to Fuji for more artistic, nostalgic projects. Would also double up for street photography, travel and social media content. Basically sort of a lifestyle cam. I'm kind of obsessed with 3:2 aspect ratio at the moment. Also I'd probably use the film simulations quite a bit.

Fairly simple, if you dont like going through menu systems and having annoying settings in the way of your work, you can only choose BM cameras.

I signed up to the Andrew Reid Subscriber Email Looking forward to some good old fashioned wordy stuff.

Dunno but keep in mind the R6 does 4K60p no crop in 10-bit Clog. And for $2500 you could buy a R6 mk2 that pretty much mitigates overheating. And has EVF, IBIS, dual card slots etc. This ZV cam is going to be a hard sell outside of its intended Vlog market. Expect a full frame version of the ZV-E10:

Side-hinged screen was pretty much the only thing I did not like about the XH2…but ultimately it was not just about the camera, but the system including lenses and L Mount just serves my needs better. Never done a direct comparison and the only reason(s) I ever considered a move to Sony was the more compact form factor (compared with S1 sized bodies) and Tamron lenses. Tamron IMO have the best focal length zooms currently with the 20-40 and 35–150 for my needs. No other system have enough for me to switch. If you were asking me whether I would come to the same conclusion if starting from scratch, as of today, it would be a toss up between Fuji or Sony and L Mount would be third, $£€ come into it… The bottom line is they are ALL fucking good!

Eh, it's not that many at all! And adding in even a few criteria will quickly narrow it down. Consider just adding any one of these criteria: Want a mirrorless mount? That eliminates the P6K. What any type of photo capability? That eliminates 2/3rds of them. (same conclusion if you make IBIS a criteria) Want NDs? That eliminates all but the P6K Pro.

Same, covid lockdown gave me a lot of time on my hands to rethink life while we couldn't work and were locked up at home. Makes me reassess my spending priorities (although I certainly still have far too much money tied up on gear, and still spending too much! But I guess... less so than before??? Maybe) plus general life goals and what I'm doing with my life at the moment. Kinda living a mid life crisis right now (or as my sister recently kindly called it: "a quarter life crisis"), so have gone back to university to study stuff for fun that I enjoy (and still juggling working in the film industry too! A bit stressful, but that's ok, I'm enjoying all of it).

Decide what you NEED and then go from there. What sensor size would be you satisfied with? Do you need stabilization? Do you want a bunch of codec options? Is autofocus important? Low light? All those cameras have their strengths and weaknesses. It's all about finding the one that checks the most boxes for your budget.

COVID really opened my eyes about being extra thoughtful about how I spend my money and what I have my money tied up in. There were several times, even early in the pandemic when I tried to convince myself that things would be better by the summer, where I almost pulled the trigger on completely overhauling my kit. I had the money to do it, and my gear would've fetched more than it did last year when I finally did start the transition to the S5. But I'd have been in a really BAD situation if I had spent that money in 2019 or early 2020. I'd probably have had to start selling my gear, which I would need when things got back to "normal", to survive. By waiting though I scored two S5 bodies in the last 12 months for a little over $2000 total and didn't put myself in a poor financial situation doing so. These cameras will serve me for at least the next two years, I'm sure longer if I really want them to, and will have paid for themselves over and over again by the time I decide to upgrade. By then they'll be 4 or 5 years old, but they'll still do the job just as the GH5 continues to do for me 6 years after buying it. I'll let others take the financial hit that comes with buying a new camera, because short of some MUST HAVE release, my days of buying the latest gear new are over. I'd rather keep that money in my pocket because if COVID showed me anything it's that I just don't know what the future holds and when we leave it to people to make the best decisions for the collective they often times don't.

One less pointless trip to the stratosphere (barely space!) would run DPR for 4 or 5 lives! The forum there had a very strong NX presence, I hope we can attract here most of that traffic, even thought there are too many hobbyists and newbies, which I am not sure if they are the right target group for eoshd, still, it is a possibility..

I see what you did there 😉

I guarantee you this will have substantial Sony cripple hammer. It's a ZV series aimed at Vloggers. So what crippling to expect? No EVF, no IBIS, no fan, no 10-bit, no S-Log, no dual card slot. There is simply no way Sony is releasing an A7S3/FX3 in a A7C body for $2500.

Hollywood can make a movie that appeals to a wide general audience without hitting as much of a niche. If you don't have a huge marketing budget you aren't going to be able to do that. You have to find a niche. It is really that simple. I guess that is the same story for any small business. For me it has been Detroit films on the streaming service Tubi. Only working as a cinematographer but I am about to direct/produce one and see some of the back end. Will be interesting.

GX9 colors are even better, at least to my tastes. When I bought the GX9, was in a good bundle price from a friend, that had the 12-60 (the non leica version) included; my intention was to keep the lens, sell the body, and continue to use the GX85. Instead, the (loved) GX85 gone. The GX9 was trounced because of the esxtra 4k crop, which is really a bad thing. But the return of the tilt EVF (loved it in my GX7), much faster operation, better eye AF, better colors (again, to my taste), and return of the dedicated AF mode switch, all this won me. Now I'm on Fuji, but I still miss it.

Yes, the most recent Voigts are reckoned to be amongst the best wide open for edge to edge sharpness and with pretty good (as in minimal) flare which is something that also interests me as I like a very shallow DOF plus shoot into the light a lot.

The 40mm is a good lens as it can be found reasonably cheaply on the used market (compared to new price and compared to the equivalent 35mm f1.2), it handles nicely for video as there is no focus tab plus it focuses closer than most rangefinder lenses. Not mention the lovely look to the images it produces, even at f1.2

The problem with Japanese camera makers is that they don't know how to make money anymore. You want to attract younger customers, you have to support the platforms that encourage them to use dedicated cameras. That's about a combination of knowledge and culture. Its a shame that these days its Apple, the king of parental "auto everything", that advocates manual control for its iphone cinematic mode. The Apple way of "manual" of course. Soon they change the taste of an entire generation to believe 60fps is artistic! Dedicated camera needs its own narrative to survive, and we're losing the narrative.

I have been toying with it… Not necessarily that specific lens, but Voigtlander. Around 12+ years ago when still shooting Nikon DSLR, I had this crazy idea to adapt a pair of M Mount Voigtlander primes to a pair of Panasonic GX1’s and shoot a wedding (stills only) with just that combo. Went OK. Ish. The results I did get were good but it was getting the results, especially any kind of tracking as I don’t think the cameras had focus peaking? There were flaws in the capture process to say the least! Anyway, Fuji announced the X100 and I bought the hype (which was real) and the camera and then went over to them exclusively for the next 9 years. Roll forward to the present day. I have a Leica itch. I can probably afford a Leica itch but the reality is I can’t justify it. I watch and read a lot of M Mount glass reviews and the general consensus seems to be that Voigtlander lenses these days are as good as Leica, but at a fraction of the cost. I have just bought (re-bought actually) another Leica TL2 to use as my personal camera and as soon as possible, I am going to make it manual focus only. Yes, I can use any of my Sigma Contemporary glass with it and initially will be using the tiny and compact 18-50mm f2.8, but would like to make it a fixed lens, manual focus compact ASAP. To that end, I have decided on the Voigtlander 28mm f2 Ultron as this will give me an approx 40mm FOV in FF terms which is my ideal all round focal length. It’s also going to be a test bed for both photo AND video work on my full frame S bodies. I have the EF-L adapter from Fotodiox with built in variable ND. My plan is to adapt M Mount glass to that with an M-EF adapter so I have ‘internal’ VND. My only real concern is getting the IBIS of the S1H to play nicely but it should if I set the focal length in camera and save the set up? My ‘ideal’ would then be a 28, a 50 and a 75 (or 90), over 3 identical bodies such as any future S2H…but this is not a definite plan. The only negative though is Sigma as in the Contemporary range of primes and compact zooms are perfect for my needs. So why even bother considering adapting MF only M Mount glass? Because any real artist strives to be different, not for the sake of being different (ie, a contrived and artificial difference) but because they are driven to achieve a level of artistry or craftsmanship that drives them to further creativity. That ethos is what led me to try those Voigts 12+ years ago followed by the move to Fuji (before they became a TikTok star) and now with L Mount. L Mount, at least from the camera side of things is for me, the best and most interesting platform to create and be creative with.

Yeah, I can't explain my attraction to Olympus, but there it is.

The chroma smoothing thing is real but overblown imo. Its a pixel peeper thing, in real life scenarios it rarely matters. Skin tones when shot properly are amazing. The 4K120p is amazing. Better than the class leading A7SIII. Here is some XH2S 4K120p footage shot in 8-bit 264 standard baked profile: Yes the image is sharp but hard to beat such a clean rich detailed 4K120p with no moiré. Any other Bayer sensor camera and that fabric would be moiré artifacting like crazy. And that's in the lowest 8-bit setting.. Its easy to pick apart issues but you also got to know how to play cameras to their advantages. I prefer softening a sharp detailed image then the reverse. Just pop on a vintage / cine lens and something like a Pro-Mist filter and you'll already get a much softer image.. add some film grading, halation etc on the very chunky robust ProRes codec and you've got yourself a very cinematic image with film like grain:

Yeah that would be sweet, at a lower price point. Never going to happen though.