elgabogomez

Regarding the 180 degree rule... I honestly think it’s best used on 24, 25, 30 frames footage as it gives it the “illusion of movement/blur” that works in our collective memory (and at 30 the motion is already so fluid that it matters less). But on higher frame rates you are already messing with reality and time so if the blur is not there is a lot less objectionable. If you are not slowing down 50 or 60 frames, the motion is already hyper-real so it’s a different aesthetic in itself and the 180 rule can be thrown out the window.

10 bit has been a request for Sony mirrorless since the GH4 got it externally in 2014. In 2017 the GH5 got internal 10bit. In 2018 Canon make it external with the R, Nikon with the Z6 (External) and Fuji with the Xt3 (internal). Sony got the a7iii out in early 2018 before the wave of new 10 bit full frame/apsc models from competitors so it had “no pressure “ to do so at the time (discounting m43 which is condescending). But normally Sony is quite aggressive with features once one of its products have them, was it naive to expect cameras launched after the a7siii to have 10 bit? Is the s5 not full frame? Doesn’t the competition moved ahead of Sony since 2018?

At some point I will, just not at launch. There are still gotchas that might pop up. But for my personal camera I want something that can handle anamorphic, so open gate or 4:3 shooting; c4k Is also something I would like to have or more megapixels for stills (both of these not deal breakers but prefer to have them than not). An apsc 4k crop is also a consideration. I like the fast readout of the siii and dynamic range seems great. Even if I don’t end up buying it I know people who will and will use it then to decide.

I’ve been a Sony mirrorless user since the nex 5n days, I like the mount a lot and the blend of features/size/price/hybrid % stills-video in many of their products. When I can use the same lenses (or adapters) from the cheapest camera to the fs, fx and Venice cine lines it gives a reassuring knowledge of the results I’ll get on any given lens, lets not forget the first speed booster was made for e mount. But the wait for 10 bit in video has been perplexing for many years, even before the full frame a7 line. There has always been an excuse to not have it regardless of cost. 1. No clean hdmi out on nex 7 2. No 10 bit on fs100 3. Better video specs on nex 6 4. No 10 bit on fs700 5. Better codec on a5100 than on a6000 6. No 10 bit out on a7, a7r 7. No 4k internal on a7s (no 10 bit) 8. No 10 bit out on a7ii, a7rii 9. No 10 bit out on a7sii 10. Finally 10 bit on Fs7 11. No 10 bit (or picture profiles) on a9 12. Only 1080 10 bit on fs5 13. No 10 bit on a7iii, a7riii 14. No 10 bit on a7r4 and a9ii So, in Sony world 10bit is only for fs7 fs7ii, a7siii and fx9 (I know there are workarounds for fs5), and Venice. And that’s an almost 10 year span on e mount life with very good video quality, just a trend of not giving the last step to what customers ask.

It’s time to reward innovation, let’s all hop on Sony train for the full frame hybrid experience! Now you can have 4k video and high megapixel stills in one body, with auto focus and image stabilization! 42 megapixels and small body for less than $1500.00 new... or even less used, as seen for the first time in 2015! Run to your online store to get the ilce alpha 7r iii!!

It’s a good sensor... for photos that is, for video it’s still last gen in read speed (rolling shutter) and dynamic range. Not bad but the r6 sensor reads faster I believe, or it would have 4k60. And I don’t know why do a camera they already have a73 but in a different configuration. Only the AF has been ported from the a7s 3. No 10 bit, no faster read, no 4k60, just last generation but smaller. The S5 and the Fp have much better video. Auto focus is a big deal I suppose... but the a73 wasn’t bad in that area and could have get there on firmware. I can buy an a7s 2 for less (used) and be better served for video shooting.

So, it looks to be the same sensor from a73... how is it that Sony is the biggest sensor maker in the industry but it doesn’t use innovation on their own cameras??

Micro hdmi, no 10 bit (not even external). Maybe they think autofocus is the only thing people want in this price range?

No way to mount meikes/veydras on the fp unfortunately. M43 also gives access to vazen anamorphics and some cine zooms that are quite small. Also the fp has micro hdmi which is the most beloved connection known to cine standards 😉

It does have appeal (for me at least). The evf in it and the s5 are a big point in its favor, but the fp is so versatile and small... The 10 bit ipb in the s5 is the perfect size/quality ratio, I’m hoping the a7c can match it. External when you want all i/raw is a great compromise and I don’t see Sony allowing ext raw on the 7c so that is a point for the fp and the panny

The sigma fp is more appealing/intriguing and a straight competition. I really like small form factors and once Panasonic s5 and this are available and compared, they are going to fight to be my next personal camera.

The CFExpress cards in the a7s 3 are even smaller, might they overheat as well? There are adapters for CFast 2.0 to ssd, maybe that’s a solution (obviously increases the size and bulk)

The problem is you change the flange focal distance so markings on the lens are going to be off, may not seem like much of a problem, but your lenses won’t focus to infinity or go past it and with anamorphic it’s a bigger problem cause both spherical and cylindrical glass has to be precisely focused at the same distance. That’s why on focal reducers for example, the adapters are shorter than on regular adapters.

So, the r5 is a [ For the professional image-maker who needs resolution, speed, and video capabilities, there is the Canon EOS R5. Setting a new standard for versatility, this full-frame mirrorless camera features a newly developed 45MP CMOS sensor, which offers 8K raw video recording, 12 fps continuous shooting with a mechanical shutter, and is the first EOS camera to feature 5-axis sensor-shift image stabilization.]* (b&h description) product that can record 16 minutes chunks of 8k footage (hard power off/power on required each new chunk) without overheating... as long as you don’t care about using those recordings. So is it a proof of concept device that you can buy to support and thank canon for past, present and future innovations??

I remember when I first started filmschool, guys that had graduated and short film creators were lashing against newbies for only wanting to shoot fullhd as if that were to give us “better” content... that was 2011 in the dslr video revolution. Now everyone has a 4k camera and soon everyone will have 6k or 8k. There is still going to be filmschool graduates or younger creators buying new gear (if covid allows society to still have schools going forward)

I used the nex 5n a few years ago, no other mirrorless had 1080 24p “super 35” back then, so adapting any lens to it was very appealing. There was only gh2 to compete to it. We put up with it and worked around it cause it was unique (no Blackmagic yet, no video on fuji, no full manual control on Nikon apsc, poorly pixel binned or line skipped on canon, very expensive to even go to fs100 for almost the same quality)... But now there are all sorts of options from all brands (used cameras can give you almost all you need at almost all budgets), so if the r5, r6, xt4 or a7s3 are a liability to you and your shooting style (pro or amateur) just buy something else. I still love the small form factor of a mirrorless and the options it gives to make it as big or as small as you want it rigged. And if workarounds exist to make the r5 results more consistent and with less downtime in the future, I will use it if a project comes that will benefit from its unique features (8k 4k120... 4k non hq is not unique). It will not be different from using a gimbal or a crane or a dolly or an underwater housing or an external mic or an external recorder or any other tool needed for filming.

16mm on veydra covered the 16:9 area on apsc Sony, I saw it on my own camera. On 3:2 full sensor there was vignetting in the corners. I looked for the 2 or 3 shots I took at NAB 2017 but not finding them 😕 so I have no proof but my word.

The 4:2:2 10 bit from the Panasonic s1h is easily editable in resolve studio and I have a Radeon rx580 with 8gb vram. It is not h265 (the 4k 60 is h265 4:2:0 and it’s harder on my pc)

Now, if they can get browsers and cellphones use the right gamma and the highest resolution when in WiFi, we are on to something... NLE catching the right flags for rgb wouldn’t hurt either

Almost done upgrading my pc for the next few years and ended with a $120.00 spare budget burning my pocket... Any one wish to part with a copy of resolve studio for that amount?

You can record ProRes raw with a shogun flame or an inferno... I think the inferno even lets you go variable frame rate

Currently OLED tv panels have a peak brightness of less than 800 nits, and that is being generous (it’s only capable of that in small places, not on the full screen or big areas) and we know how light behaves, So imagine a tv with almost two more stops of light. Add more bits to color to be displayed (before hdr even calibrated reference monitors where unable to display full 8bit rgb) and you have great potential.

So it seems I’m partial to the full frame look, to hell with the resolution, the one I picked as the one I liked was H...

Look, 2k for exhibition is ok. I’m not arguing that, however if your point is that if a movie from 2018 is distributed in 2k reason enough for 4k to be “not relevant” then I would choose a film “made” in 2k, not on film that is basically resolution independent. Depending on the conditions of the negative or the exhibition print it can display from 480 to 8k comparable detail. And if well shot, properly processed, carefully conserved originals can be obtained, there is a chance for a future “re-master” in other resolutions and formats. By imdb limited info, there is no way to know if the telecine convertion was made in 2k, 4k or 6k, and or 10 bit log or 16 bit floating point, for that you will need to contact the editor, the lab or the dp. If you can have the Spike Lee’s workflow of 35mm and 16mm converted to digital then you are a very lucky guy.

Blackkklansman is not a digitally captured film