jonpais

I’m sure the Focus is an excellent monitor. If I did purchase the Ninja V, it wouldn’t just be for use with the Batcam. It would also be for shooting Prores RAW with the GH5 next year. ?

I already said I wouldn’t last five minutes. Didn’t you read my post?

John Brawley must have amazing eyesight, because I can’t see the Video Assist screen in bright light at all. And with the Ninja V coming out soon, I can’t see why anyone would get the BMD, unless you absolutely needed SDI.

Nothing you’ve said contradicts what I already wrote.

@HockeyFan12 I’m not trying to be argumentative here - for one thing, I’ve never shot with a cinema camera - but here’s an example of one filmmaker who often shoots with Red, usually with a very small crew. For this project, he shoots with a Red while another operator handles a second camera on a slider. There are several other examples on his channel. I’m certainly not saying this way of shooting is ideal for every situation, and I’m sure my arms would’ve worn out after five minutes!

I haven’t shot with my Sigma and SB in years because I also prefer working with native lenses. The selection is much greater now than when I was starting out.

But it does have IS.

Maybe because it’s optically superb and blazing fast? There is no other like it in the m4/3 system.

I've seen some spectacular results from single operator Red users, so I think it depends on your skill level and what you're shooting.

Beautiful work, nice grade @Oliver Daniel .

I still can’t recommend it though - it’s too huge. Had I known they’d be releasing the Ninja V, I’d have waited.

I’ve got both the BMD Video Assist (unusable in bright light), and the Shogun Inferno (no problem in bright light).

350 nits is not usable in the sun.

Would you mind telling us what it is you’ll be shooting, where you see yourself in the next five years?

more bs inuendo.

In a PM to me, Mark says I’m a sick old man, that my reaction suggests I’ve got ‘something to hide’, and ends by saying, You ought to stop making little girls pose; it is disgusting. So no, his remarks were not just harmless little comments.

This is not about worrying what others think - it’s about some know-it-all joining the lens thread with the sole purpose of trashing the model in my video.

Some wise person once said no good deed goes unpunished.

Just a brief observation. Someone who's been a member of EOSHD for some three years now recently posted some remarks in the lenses thread for the very first time. With the express purpose of ridiculing the subject of one of my videos. The subject of the video is not a professional model - she's a student - and we were just having fun. She's a twenty year-old behaving like many young people here do. I was mostly interested in capturing the lighting in the cafe - a beautiful dappled light at around three in the afternoon that I found quite intriguing. I also wanted to try out the 180 degree rule, since I've never shot a dialogue scene before: granted, there's no audio, and I only shot one person. Regulars here are also aware that most of my shots are pretty static, so I was trying out some handheld to see how that worked out. My assistant helped out with reflectors and a hair light for some of the shots, and my goal was to make the lighting look as natural as possible. And of course, I wanted to see how the Olympus 45mm f/1.2 handled all this. Now, if this criticism had come from someone whose work was beyond reproach, that would be one thing. But much of this person's body of work shows a profound lack of understanding of composition and displays an utter disregard for the fundamentals of good lighting; his content is deadly dull; and his work has not progressed in any meaningful way as long as I've been following his channel on YouTube. He doesn't offer any constructive criticism whatsoever or even seem to realize that the purpose of the video was to give others an idea of how the lens performs. This person is not a filmmaker - he's a technician. In fact, although he shoots with a nice camera, all of his work screams video. You can feast your eyes on his videos here.

The Veydra 35mm T2.2 and 50mm T2.2 are both optically excellent, have geared focus rings, they’re compact and both run $800. Fuji X and Sony E-mounts are available.

I had to stop watching the video after seeing the buttery smooth out-of-focus background and insanely good autofocus continuous at around four and-a-half minutes.

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If you read what I wrote, that is precisely what I just said.

I think you might be mistaken there. The a7 III is outstanding in low light. I might also add that comparing cinema cameras to hybrids is comparing apples to oranges.

I don’t see BMD competing in this space with Sony at all. Panasonic, for sure. Sony’s got brilliant full frame cameras with fast AF-C, insane low light ability and most of all, it’s a pure hybrid camera that also happens to shoot magnificent stills.