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I had a play recently (inside a camera shop) with an S5ii, X-T5 and OM-1. On the S5ii shooting FHD at 50p, in full-frame mode it does not use PDAF (it uses DFD instead) but it does use it in APS-C mode. The difference in C-AF responsiveness and focus speed was very noticeable - it was pretty snappy in PDAF, much slower in DFD. I was pointing the camera alternately at something in the far end of the shop and at something quite close using a simple mid-size focus area (no subject detect). I would say the AF was pretty confident and smooth in both cases though. The X-T5 AF was very 'snappy' (with the 16-80 lens on it), the OM-1 similar to the S5 ii in PDAF (with the 12-40 mk2 lens) - but both have adjustable AF speed and sensitivity (as does the S5ii) so that doesn't necessarily mean much. At the current offer prices in the UK, an S5ii kit with 20-60mm plus 50mm lenses is quite tempting at £2099, but as I normally shoot in 50p it's basically an APS-C video plus full-frame stills camera for me. The X-T5 is smaller and lighter (the X-S20 even more so), but for video the Fuji lenses seem to be a mixed bag in terms of AF speed and smoothness (and the IBIS isn't yet at the Pana/Oly/OMDS level). Personally I find the DFD on my G9 works perfectly well for the use cases I have - confident with smooth focus transitions and no/minimal 'pulsing'.

I’d argue modern hybrid cameras are noisy too unless using heavy internal noise reduction. Shadows are always noisy at base iso. You gotta over expose to negate that. for example on my pana S1, for a noise free image, I would overexpose by 2 stops. Pretty much the same thing on my Alexa, I’ll shoot at 200 iso if I want it completely clean.

omg 🤣 that is NOT their 4k 😹 wow i had no idea how awful these could be 😮

Even very pricy cameras, such as the Sony VENICE I've seen coming down by thousands and thousands of dollars vs what they were just a few months ago. This young guy just got a VENICE, upgrade from an URSA Mini Pro G2: How long until a VENICE is as affordable as an F3?? hahaha A hype video about the old F55: One day soon they'll be talking about the Sony VENICE like that! Here is a youtuber who is not using the Sony F3 any longer, got a different older Sony camera (the FS7! Like me): However he quite quickly got himself a Sony FX9 shortly afterwards (and announced the F3 is sold, to a lovely lady in the UK, hello there! If you're reading this thread): (he is still keeping the FS7 for B / C Cam duties) Here is another youtuber who is still making F3 videos, has quite a few recent uploads: https://www.youtube.com/@xavierdegreeves Another video about the F3, which I think has not been shared here yet: Maybe we should make a thread dedicated to old forgotten cameras which were for their time amazing. Such as the Sony PMW-EX3? Philip Bloom's video on it, back when he was almost totally unknown, one of the early videos that helped make him well known (there were so few other people back then doing this!!): More EX3 videos: Of course if you're shooting a cinematic short film in 2023, don't even choose a Sony EX3! But I reckon if you want a simple, compact, all in one camcorder with massive zoom range & reach, then the EX3 holds up well as a low budget choice in 2023? Or is there anything better I should look at??

Was browsing eBay, seems like F3 prices are finally becoming sane again! After they were for ages completely out of whack, had no sense whatsoever, due to the hype generated about it due to a few youtubers. Hopefully this new video doesn't make them spike up again! But Nostalgia Nexus only has 29 subs, so I reckon we're safe. 😅 (great video though, he deserves many many more subs!) I wonder if the writer strike is also causing a decline in camera prices. I've noticed Sony FS7 / Sony PMW-F5 / F55 / Sony PMW-EX3 / Panasonic Varicam / Panasonic EVA1 / RED Dragon / Canon C200 / etc are all becoming a lot more affordable than they used to be. (I don't pay so much attention to DSLRs, but it feels like the Nikon DSLRs which I kinda follow have begun to drop more too?) Partially due to yet more depreciation I reckon, but also now that the easy credit is turned off, and people are feeling a financial crunch, they're selling more gear eBay. If you're in a good financial situation, now is the perfect time to grab bargains! I'm juggling studies now with work, so trying to watch my cashflow more, but if I wasn't then I'd definitely be grabbing myself a Sony PMW-F5 (or heck, maybe F55!) and a Nikon D500. (maybe I'll get a Nikon D7100 as a treat for myself this Christmas)

At this point, even if the CDAF made coffee and told you next weeks lotto numbers, no-one would believe that it was capable of anything. I've maintained that DfD and AI based processing AF would get good enough that it would catch up, but haters gonna hate and "PD=GOOD CD=BAD" was always a simpler and therefore more desirable view to have. Plus, anyone over 20 has had a bad experience with a super-cheap CDAF system. Maybe the prejudice will finish with Gen Z? It's been years since I've seen a cameras AF fail to focus, these days focus "failures" are where the camera focuses quickly and accurately on the wrong thing, and PDAF does this just as much because CD or PD AF has literally nothing to do with that part of the AF functionality.

This makes total sense.. L-mount is an alliance so adding a new partner only makes them stronger. BMD make cine cams with no AF, IBIS, h26x or photo specs. They are not a competitor to Leica, Panny or Sigma. BMD finally goes FF which will open up their market. L-mount finally gives them a large sensor mount with adaptability. EF lenses are easily adapted and well supported by L-mount so the transition would be easy for existing EF BMD users. This seems like a win-win for everyone. I do hope they manage to keep the built-in ND system.

Ah! When I read "S16 sensor size pocket love" and I saw the lovely organic colour grade I took the word "pocket" to mean the OG BMPCC... You did very well! The more I learn about colour grading (and other post-production image manipulations), the more I realise that the potential of these cameras is absolutely huge, but sadly, un-utilised to the point where many cameras have never been seen even remotely close to their potential. The typical level of knowledge from solo-operators of cameras/cinematography vs colour grading is equivalent to a high-school teacher vs a hunter-gatherer. I am working on the latter for myself, trying to even-up this balance as much as I can. As you're aware I developed a powergrade to match iPhone with GX85 and it works as a template I can just drop onto each shot. Unfortunately I am now changing workflows in Resolve and the new one breaks one of the nodes, so it looks like I will have to manually re-construct that node, which I have been putting off. I've also been reviewing the excellent YT channel of Cullen Kelly, a rare example of a professional colourist who also puts knowledge onto YouTube, and have been adapting my thinking with some of the ideas he's shared. One area of particular interest is his thoughts on film emulation. To (over)simplify his philosophy, he suggests that film creates a desirable look and character that we may want to emulate, but it was also subject to a great number of limitations that were not desirable at the time and are likely not desirable now (unless you are attempting to get a historically accurate look) and so we should study film in order to understand and emulate the things that are desirable while moving past the limitations that came with real film. I recommend this Q&A (and his whole channel) if this is of interest: As I gradually understand and adopt various things from his content I anticipate I will further develop my own power grades. I'm curious to see how you're grading your LX15 footage, if you're willing to share. Wow, that is small! I'd love something that small.. it's a pity that the stabilisation doesn't work in 4K or high-frame-rates. Having a 36-108mm equivalent lens is a great focal range, and similar to many of the all-in-one S16 zooms back in the day. I love the combination of the GX85 + 14mm f2.5 + 4K mode crop as it makes a FOV equivalent to a 31mm lens. I used to be quite "over" the 28mm focal length, preferring 35mm, but I must admit I did find the 31mm FOV to be very useful when out and about, and having the extra reach is perfect for general purpose outdoor work. I want to upgrade to the 12-32mm kit lens, which gives the GX85 a 26-70mm FOV in 4K mode (and 52-140 with the 2x digital zoom for extra reach).

Yeah, adding an UltraSync Blue will resolve my woes if Zoom don't update their firmware but I wouldn't rule out Atomos breaking compatibility with that either. Curious how it works with the Tascam X6/X8 though as I'd put good money on their overpriced BT adapter being one and the same product as Zoom's overpriced BT adapter. Anyhow, I'm off to test what else doesn't work on the Connect now 🙂

Also from that thread, a nice mod of the Blackmagic Pocket: https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=173840&sid=d607770c079289f57c9615ae7e34fa1c&start=500#p957558

One thing that might tip me into buying a used Z9 (aside from Z8 possibly not being available from stock when I go on my trip) is whether they have cut BLE timecode from the Z8 as I have a bit of commitment to that through Zoom audio recorders and now the Atomos Connect add on for the Ninja V. Hopefully it will also support the remote grip as well Fuck it, I’m getting a used Z9 aren’t I?