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Nice, I was there that day. The heat from the explosions singed my arm hairs. Always inspiring to be around Spike and Ty Evans and the fun shenanigans they get into. That was a good day of skating with my friends, thanks for posting.

Wow.. "I was there" wasn't a reply I expected! What else can you tell us about the shoot? Anything that looks that crazy on film has got to have some stories that go with it!

Yeah, that's what I do - I'm just saying that I glued the LTM lenses into the LTM to M "ring adapter," making it effectively permanent (so the lenses won't loosen). Then I have M mount adapters with and without the helicoid.

I grew up skating with all those guys in the 90’s and was around for a lot of the fun video shoots. Once Spike Jonze moved from skate videos to music videos and commercials, the production quality got crazy on the skate stuff. It was wild to watch us go from super 8/16 and good Mini DV video to Arri Cameras and the Phantom Flex. Plus full Hollywood production crews and amenities. the main thing on the “slow motion explosion day” was how the timing was hard to get for the explosions. You can see the scared reactions on a few of the guys as they land. A couple of them couldn’t hear for an hour or so after…

I don’t think that for 99% of us, 99% of the time, we would know what anything has been shot on without being told. And 99.9% could not care less. The movie and TV industry has been built on big cameras, initially because they just had to be a certain size. Today, they do not and are arguably the least important part of the entire puzzle. And that image of big camera = professional camera filters all the way down to us lowly wedding hacks. Well, the lower down the food chain, the less important a ‘Big Camera’ is, but it wasn’t until the last decade really that even at weddings, videographers did not have bigger shoulder mounted cameras. In the movie industry though, unless you are a Greig Fraser and can ‘get away’ with using FX3’s, the issue is mainly how you would be perceived. OK, he wasn’t using $250 kit lenses but you know what I mean. But it’s changing isn’t it and even larger studios using smaller more ‘regular’ cameras is becoming more common. I think there is still a ton of snobbery though of cameras. But back to the S1H specifically, mine is now on borrowed time… Despite it having better image quality than my S5ii’s, I turned it from it’s static role of the last year or so, back into my primary run & gun unit for the first part of a 2 day job, yesterday. This morning, first thing I did was put it back into the static role and reset one of my S5ii’s into the run & gun role. Why? It’s just too slow compared with the S5ii and ultimate image quality aside, some things are more important and the top of that list is getting the shot. If I was shooting a movie though, S1H hands down.

It isn’t, but to be expected as it’s a previous gen system. And that of the current S5ii/x just received a firmware upgrade making it better still. Zero issues for me with that of the S5ii and IBIS is VERY important to me, especially now that I have ditched the hated gimbal forever 😉

Too many compromises… Single card slot, rear screen which I use 100% of the time, not even close, some other stuff I forget. On balance, for not that much more money, it’s a hell of a lot more camera. For pro work. Which is exactly why I have stuck with Lumix for video and 3 of my 4 cameras are Panasonic. I looked really hard at much cheaper FX30’s and they would have been perfect for my needs and if starting from scratch, would probably go that route, but no reasons I can think of to exchange S5ii’s for them. I’m still on the fence whether to replace my S1H with a third S5ii or the S9…but it will be one or the other within the next few weeks. Which is also what I almost did having used a pair of them for a season 2 years ago. Fantastic image quality for stills and actually extremely good for video, but with some compromises. The only thing that put me off and sent me to the Sony A7RV was lenses. The combos available for my needs are just too big and heavy and I tried them all! My A7RV with baseplate and 28-75 for instance weighs 1.35kg in the hand and even with the 70-180, only about 1.5kg. Previously, my equivalent, slower, less capable, L Mount Mount set up, weighed in at 2.8kg, so almost double! I’ve only been using the new set up for a couple of days but it’s been a HUGE step up in all kinds of ways; weight, ergos, speed etc, ie, everything I wanted it to be. Pure video needs though? Lumix. Easily. Pure stills, Sony. Hybrid, Lumix. Lumix for me is now one camera (S2H or S2R) plus one lens (a fast compact 50-100 zoom) away from being the absolute for me, but it’s just the ‘anything over 70mm’ that makes it not work for me. So for now at least, happy to have a 75% split in terms of cameras for video from within L Mount and 25% from Sony for stills. At some point in the future, I do hope L Mount can offer me everything I would like so everything is within one system, but my current one just works so I can wait. And if it does not happen, makes no difference to me!

Well I was also ‘waiting’ on it and had already dismissed the Leica SL3, simply on cost. The ‘S2R’ is likely to be the same, or even better and half the price, but that is just speculation on my part. Also considered the GFX100s but the lens options do not exist for me. So Sony A7RV it was. And is. Early days and I didn’t really want to go Sony because…well, the photo snob in me says they have near zero heritage in making photography cameras and whilst that is true, it kept coming back to one single factor and that is who makes the smallest and best 60mp+ camera? The answer is smallest, Sigma FP-L, but so much missing for me, as much as I wanted to, I just could not. But best? The A7RV is just a chunky little compact, class leading, highly capable stills camera with stellar AF. Superb range of compact and affordable lenses that cover all the focal lengths that no other lens manufacturer does (at this size and weight) and relatively OK prices, it just became that ‘no-brainer’ they talk about. With a trio of primes from Tamron; 20-40, 28-75 and 70-180, so far, I have zero criticisms. But yeah Panny, where is that S1R’2’?!

A lot of manufacturers have some sort of variation of it but it’s the implementation of it that is key for me at least. The Variable Scan Mapping of the LS300 was the one that really caught the imagination because you could map it to the zoom rocker so it was really intuitive. You can actually use a LANC controller for it instead and map focus to the rocker switch for a great solo solution. Incidentally, you could do this with Clear Image Zoom on the Sonys such as A6500, A7Rii etc with cheap compact zoom rockers that plugged into the remote port too but I’m not sure whether the modern ones allow it? For the Z8/Z9 and now Z6iii Nikon have their Hi-Res Zoom function and have the hardware MC-N10 grip to provide a tactile control. There is always a lot of “durr but you can crop in post dude” reaction to this sort of functionality and, whilst this is true, there are plenty of applications where virtual zoom makes a lot more sense. For something like the LS300, if you are shooting live or handing media off for as live then obviously it gives you the way to get a tighter shot in camera that wouldn’t be an option otherwise. To paraphrase Nigel Tufnel, if you’ve got a 24-70 on the camera and you need the shot to be tighter … The other scenario is not having to shoot in a “wasteful” resolution just to give you the option of cropping later. With something like the 8K Z8/Z9 you are getting up to 2x hi res zoom and still be shooting in 4K whereas the Z6iii is a bit more limited in that it is only 1.2x whilst still being 4K but that might be all you need for that extra push over the cliff. As I say, it’s horses for courses and will be of minimal use to a lot of people but it definitely has its applications where it’s an absolute boon. It also forces you to make a decision about framing whilst shooting, which is anathema to the “I simply MUST have maximum post shooting noodling capability” crowd of procrastinators. Fucking cowards 😉

Lens was Oly 12-200mm, used at the wide end (maybe between 12 and 15mm). No lens OIS. With IBIS at +1 level you get some jitter with fast camera movement, so level 0 would be better for that. Enabling EIS in the camera should handle walking much better. If I was going to use the 'walking' parts of that video I'd probably also add stabilisation in post. (I don't normally do 'walking with the camera' stuff, but I happened to have that recording).

But how come that it couldn't just be a simple google search, I asked myself, scratched my head and gave it a try. Digital bolex Cannes 2021, voilà.😊

For LTM, the Canon 50/1.4 LTM (aka "the Japanese Summilux") has gorgeous ring flares and ghosts.

10 years ago I used ltm Leica 50mm f2 on em-5 for video. In the bright sun, there is dreamy look, not sharp, milky like, maybe due to the single coating. if paired with a latest sharp camera, it will look nice. modern lenses cannot have this kind of vintage look. just like super baltar s35 lenses. very artistic. not everyone's cup of tea though.

Could do that, but I use the cheap, effective ring adapters from LTM to M. I like using M and LTM lenses with a close-focus helicoid, which allows me to create bokeh effects and get a lot closer than I could otherwise; they push the lenses beyond what they were designed to do, with often beautiful results.

those l39 lenses are small and affordable. currently I couple a Leica l39 50mm f3.5 retractable with eon m crop mood ml. very nice iq. not much larger than go pro 12. I normally don't use nd filters, I just change shutter speed, aperture, and iso. no big deal. if really want to go strict, then get a small rig mini Matt box. I want to keep everything small. I just use a generic l39 to m43 dumb adapter bought from eBay. no issue. seem focus to the infinity. I check focus using 10x on eon m, very convenient.

Unless you have a camera body that uses LTM, I would suggest using a little bit of loctite and permanently mounting the LTM lenses in M mount adapters. That's what I've done. On some of mine, the focus is a little bit stiff which meant that the lens would start to unscrew slightly and wobble when I turned the focus (maybe yours are a little better). Either way, there are lots of LTM to MFT adapters. Just find one that promises to let you focus slightly past infinity and you'll be fine. There's no need to buy anything even a little bit expensive.

It was like you were reading my mind as I was reading. The other thing that people often forget is that film is a creative medium. I know it's heresy and I'll flame myself after posting this, but it matters because if you're zooming while filming then your choice of compositions and even choices in how you move the camera etc will be made on the basis of what you see in the frame. People forget that the tech influences the operator, and the operator controls the camera and also influences the crew and even the cast (if they're grumpy or happy enough), and those things are far more relevant to the actual end product than any technical whatever that might exist as a counter-argument.

Same for me.:) They must have shot the film ahead some time in 2020. That's quiet a demonstration of trust in a camera that has been released only a few months beforehand, to be used for a 2 million Euro production. The two directors have been nominated for the Camera D'Or with this film btw. Mission accomplished for the Lumix and the Dop I would say. Why Panasonic has not been taking advantage of such a testimony to their brandnew flagship camera, that question remains to be answered. I just watched through a 30min horror flick shot 10bit internally with a FX3. It was graded by a skilled post production pro. I could still recognize the mush at high iso shots. S1H has pro internal processing and image quality for cinema productions on the other hand.

For an example of walking with the OM-1 using just sensor-shift IBIS, see my post here - https://www.eoshd.com/comments/topic/87236-how-do-om1-mkii-or-even-om1-dci-4k-video-quality-comparing-to-gh7-or-even-gh6/?do=findComment&comment=713229

Just added a clip of walking along using only sensor-shift IBIS (probably on the max +1 video stabilisation setting) in the 'IBIS_walk' folder (OM1_walking_with_IBIS_P8260305.MOV) It's quite wide-angle so has a fair amount of corner warping, but I really like the way it becomes very stable as soon as you stop walking.

S1H has been the main camera for two french cinema films that I know of. That was before Fx3 fame. This film was at Cannes in 2021 and was shot on the S1H. The actress is french movie star Adèle Exarchopoulo who starred together with Léa Seydoux in the Cannes Palm d'Or winner of 2014, which was shot on the og C300 btw. So here is some S1H Cannes motion picture glory.:)

No, it’s definitely in the mix but there was something about it that made me just look at the A7RV instead for the money. Can’t remember what turned me off at the moment. A $3,800 Sony Alpha 1 would be fun but it’s starting to get a little dated and missing a bunch of the stuff the newer cameras are getting for less. The S5iix has me really spoiled for how well it does most everything for the price. Paying that “Sony tax” becomes tough to swallow. An S2R/S1Rii would slot in perfectly to my current worklflow so nicely so I’ve been trying to hold out.

Yeah, I’m right there with you. I’m needing to use it for stills but then cut with it for interviews as a second or third angle so I’m trying to stay same/similar sensor. You can’t beat LUMIX for the features you get for the money and the IBIS is hard to ditch once you’ve been using it for run and gun stuff for a while. I don’t want to spend the money on an FX3 to pair with the A7Rv or Alpha 1 since the stills camera will already be a splurge. I may just pick up a cheap $1,200 S1R for now and wait it out. And then add a cheap S9 when they go on sale to $1200 later this year. ugh.

Yes, Sigma Fp-L and Fuji X-H2 They have the very high resolution sensors for it to work at MFT crop So you can put your 2x crop lenses on one of the above cameras and maintain 4K detail I had that adapter made for MFT lenses to Fuji... It is a very small niche though, maybe not commercially worthwhile. Even the X-H1 did a nice MFT crop in 4K

Clear Image Zoom is a crop at native resolution, so on a Sony camera 2x clear image zoom at 4K looks like 4K That's the same with the FP-L which has a 60 megapixel sensor, so enough resolution to do 4K at Super 16mm crop factors. It's very detailed and not a digital zoom or blow-up. In stills mode only I think?

Sigma FP-L has a ‘zoom’ function. It just crops on as they all do though? Leica Q3 has ‘crop modes’ as do quite a few other FF sensor cameras. I have my new (used) A7RV set up to shoot 3 different options: C1 for compressed full 61mp raw C2 for 26mp medium raw C3 APSC crop which is also 26mp, but tighter framing than the full frame 26mp medium raw of C2. All working with the Tamron 28-75 gives me actual working ranges of 28-75 and approx 40-110. I have think there is a clear zoom option but not looked at it.

Considering he was using 180deg shutter angle it’s actually not that bad. Good thing about the gyro stabilisation like this in the BM and the Sony version cameras is that, unlike IBIS, it is non-destructive to the image so you can tweak it later. That’s not only good for the now but it also means if someone does come up with a better method then you can re-process the files and rescue or improve shots. With IBIS, those warps are there for good.

How did you guess? ; ) hehe

I saw Y.M. Cinema Magazine published updated statistics on cinema camera used at Sundance, Cannes and Oscar in 2023 and 2024. Interesting reading indeed: https://ymcinema.com/2024/05/29/the-most-popular-cinema-cameras/ Basically Arri leads and Sony Venice is making its way. But I really would like to know who was the hero who made a feature at Cannes with the mighty Panasonic SH1 🙂