jgharding

This all seems like the standard modern business plan. Pull people in at one level, trap them, then raise the price/lower the pay. Pretty sad.

Hi all, I recently fitted a proxiscope to my Iscorama, but the grease is just too stiff for the follow focus motor. as such I’m going to pull it apart again and re-grease it. what i’d like though is a recommendation for a good lithium grease for lenses. Not so little resistance it’ll drift, not so much a small Nucleus nano can’t push it about. many thanks,

Obviously this came from a place of lecturing myself more than anything else, but figured it may help us all once in a while. It’s SO EASY to get pulled into obsessing over specs, or the thrill of the eBay chase and so on. at the start of the year I moved studio and just had mountains of audio and video gear to shift, some of it I just got preoccupied with a notion that a certain sound or look would “inspire me” but TBH it was nonsense, I just enjoyed the hunting and buying, as soon as thing arrived the hit of endorphins was gone and it gathered dust. So now I’ve sold a ton. I still have a lot, but try to keep to stuff that really makes a difference. i settled on the S1H as my camera now. The company I co-run still has a GH5 and C200, but the S1H is the best balance for me, and I’ll stick to it and learn it. The autofocus makes me want to yeet it off a cliff though, but hey I just stick Zeiss primes on it with Nucleus nano and I’m happy!

One interesting aspect of the modern budget anamorphics is the sort of "caricature" look. For example I've seen loads of SLR Rangefinder clips that show s sort of comically saturated blue flare that looks much worse than a good post-production flare plug-in, like Optical Flare. I've also seen Aivascope clips where the sides are SO distorted it goes beyond charming retro and into a sort of parody of anamorphic distortion. even on a 50mm taking lens that'd look great with an Iscorama for example. This happened in the pro audio world too. The early emulations of analogue tape (both software and hardware) were really exaggerated cartoonish ones that were far more than people wanted. As the years have gone on the emulations are now stunning, far better than a decade ago. They still aren't made as well really, build quality never returns it seems, but the final result is close enough as to not matter to the end user. And when all is said and done it's the experience of the final consumer that is important. I wonder if lenses may go this way too.

After getting an S1, then returning it for an S1H (i found the latter for a very good price) I have to agree. For me the only downside is the AF. Maybe the fact the battery life isn't the best of all, but that's nitpicking really. I think it's an icredible image, the best IBIS I've used and yeah for manual lenses it slays. It takes uncompromised stills and has stunning video specs with beautiful colour. It proves that the whole is more important than the spec sheet...

Hi all, This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4 Lighting is a window and a large silver reflector

Looking back and forth between two tabs: your story about this flaw, and the street price of the Leica. Unbelievable really.

you know what, I enjoyed the DP3 so much the idea of using it photoshop makes me thinking of buying one again!

ah ok ill have a look at this one cheers, i skimmed through them and there's so much "my first grade" in there i gave up

Glad to see a review of a Sigma! They're still trying new things and haven't given up on Foveon which is amazing. People often forget Bayer arrays ahve like half the resolution they claimto, and you need 8K to get true 4K and so on (I had to explain once to a graphics guy why generated graphics were twice as sharp as footage at a given resolution. I used to have this DP3, and I used a wide angle adapter to get a wider view sometimes as it's fixed 50mm which is portrait on APSC It has the most beautiful skin tones, I still think this is the most overlooked Portrait camera. Yes literally any movement above ISO 100 started to screw things up, but for portrait that was OK. The downside is you couldn't process the raw in anything but their PAINFULLY slow and clunky software, which ruined the whole experience. I don't think this has changed AFAIK, So it went the way of eBay. It's amazing how software can ruin a great camera.

Thanks all. I chatted to Alex and he said he’d like to update specifically for the S1 but maybe in the mean time try the emotive LUTS for GH5s as it’s also a little more magenta i did also find that an ACES transform is less magenta. for some reason Panasonic's own LUT is Crazily pink The other LUTS are pretty much atrocious yeah

I’ve heard all these great reviews, watched tons of YouTubers rant about how great it is and so far it’s bad and I’m thinking of sending it back. lag is so high you can’t use it to pull focus, which is part of the point, and out of the box the screen is bright orange. The white balance is so far off on the monitor it’s comical, and there’s no way to change it. even using a correction LUT doesn’t really work as the top whites still stay orange, I guess because the monitor itself is orange so the high whites are just it’s orange backlight. i actually have the calibration unit you can use with it as I bought it for other monitors but they want £100 for a cable to calibrate it, and Get this: I’ve read of people buying their expensive cable, running calibration and finding no success.

I've just got a Ninja V for the S1 and the delay is massive. It feels near to half a second.

Hi all, I recently bought an S1. I've been using a GH5 for ages, with Emotive colour LUTs. They do a great Job of changing Vlog-L to an Arri like look. Well, cue using Panasonic's official Vlog to 709 LUT and everybody looks pink. Does anyone know if someone has made LUTs to correct this, or shall I just set about making my own?

Lolle, yeah this is me, who just bought an S1. We've had a C200 since launch and never used the raw cos the file sizes are crazy, so I hope they've got more options ont he R5... The Panasonic S1 has a lovely image but I'm really disappointed with the autofocus, it's basically trash. I don't have any STM lenses at all though so ya know, it'd be a whole new system. But still, I was tempted to jump up to S1H and Atomos within a year. Maybe R5 will change that? As usual I'll keep shooting in the meantime and keep an eye on it... But I feel like a kid in one of those American dramas, waiting to be disappointed that dad doesn't show up to my big baseball game again, trusting him again... hahaha... damn you Canon. Maybe this time he will turn up and I'll hit a home run... *pans up to the sun with emotional music playing*

I think this is what makes me very suspicious! Either they have genuinely turned a corner cos the financials are getting very bad, or there will be some nasty surprises real-world VS this spec sheet...

Depends on the job i guess, I've yet to have anything to justify shooting it all raw over GH5 10bit 422

Having a C200, and never using Canon RAW because of the file sizes, it does not excite me. TBH I spend more time these days using a GH5 in VlogL at 4K 422 150meg 10-bit, as it's a great balance of file size and quality.

I abandoned Premiere when i realised i'd been paying for years and it had gotten steadily worse, meanwhile Resolve was getting better. Every software company now wants the right to constantly dip their hand in your bank account, and renew entire years at a time, and yes I think it's absurd. You pay and pay and pay for software and they hold your files effectively to ransom. Back when you could buy a version you can keep it indefinitely. But now as soon as you stop paying that's it, you can't open your old projects. I find the whole "model" a bit poor for consumers.

I guess it's just for stills really, with that ultra-high resolution sensor and so on, the video is a bonus. I've still yet to a Sony below the F55 where the colour didn't upset me. The way they process their sensors seem to turn tungsten yellow and screw with skintones. I'm guessing it's from the ADC onwards, because the same Sony sensors in other cameras have far better colour.

Ah sorry, I should have been more specific, it's to use with a computer, for edit etc, so this would be a bit too small...

a reasonably flat not massively heavy monitor in the 15-20 inch range i guess

Hi all, I'm currently looking for a reasonably portable, mains-powered 4K monitor. There are lots of options on Amazon but some have no reviews. It's for a windows machine, the reason i specify mains is because USB bus-powered ones tend to have very low brightness. The Asus ProArt PQ22UC is the greatest such monitor, but at over £4000 pounds it's way more than i need for this job. Any suggestions or experience out there? I don't mind 1080 if it's nice colour etc. I will calibrate it obvs.

Yeah why not? The FS5 colour isn't up to much and I find the whole thing looks a bit sterile. You can stick the pocket 4K in a bag and go shooting wherever. Obviously that bag will also need forty-five batteries in it

Try not to be old, and make movies ?