mat33

Hi, I'm looking at getting a gimbal for my Nikon Z6, mainly shooting events etc. Wanting one that can handle a heavier lens which rules out some of the smaller models. I have narrowed it down to Ronin S, Moza Air 2 and Crane 2. Where I am Ronin S and Air 2 are about the same price, and the Crane 2 + follow focus unit is ~US$200 less than the other 2. They all seem to be pretty good gimbals based on reviews but do you think the Ronin or Air2 are $200 better than the older Crane 2? Thanks for your help in advance.

Why all the despair over the crop -on an EF mount the crop sucks but this is mirrorless so lots of nice adaptable lenses with a s16 image circle. I guess it must be because you can't use dpaf with adapted lenses.

Well like it or not, thats what the XC10/15 is for.

If the digital bolex came as a black metal box with lots of cool looking holes and grills, was called the DB Ninja and had a free pair of throwing stars included it would have been wildly popular like some other manufacturer that will remain nameless.

@Mattias Burling I used to mainly use Capture Pro on my desktop which is awesome but now most of my editing is on an 12.9 iPad Pro with LR - perfect for on the sofa editing and the big screen is much better experience than a phone. I’m about to head away for a night and I am taking my camera, iPad and instax printer - a nice portable setup. I do want to start doing some larger prints - what printer did you get?

When I started imaging more seriously, I was shooting 95% video/5% stills. I have now shifted to the opposite, and often when I head out my dedicated camera is incapable of shooting video. A lot of my casual shooting involves family and the kids, and with video you just end up observing the moments behind a camera worrying about getting the shot rather than whats happening. I find with stills, I can get the shots I want and still be involved for the majority of the activity. For me the entire workflow has become key -take some shots-->pop SD card into iPad/iphone adapter-->load into LR mobile-->adjust then and there or later on desktop at home or on phone when have spare moment, very very fast and flexible and has changed the way I work. I have just got an instax printer, and am enjoying the merging of digital and analog - its been great seeing how both adults and kids react to actually being to hold a photo of themselves rather than just seeing it on a phone screen (for most kids it all they know), and sticking 'real' photos of the kids on the fridge is magic.

It is but I don't see how that would affect how efficient the codec compression is though?

The XC10 has 35mbps for its 1080p and it’s actually pretty good, so we will have to wait and see.

Well my current still cameras were introduced in 2009 and 2012 so I guess I'd better hang up my hat given how crap my photos must be.

Well I would still take a GR over any 2017 truely pocketable cam. Ricoh are actually pretty genius with their camera design but are often a bit ahead of their time with the conservative camera crowd.

Man this looks like absolute crap, it’s really completely unusable - leaves look a strange thick green colour not a thin yellow-green, skin has multiple hues rather than the ‘correct’’ green or orange plastic colour, there’s a deep Dof which is so non-cinematic because all of their faces are completely in focus, and where are the in-camera sharpening and NR artefacts that real Camera’s have???

It just seems when mirrorless first come out, everyone was all about the small bodies, then they realised small bodies suck ergonomically with APS-C/full frame lenses, so the current/next generation of mirrorless bodies are back to similar sizes to the dSLRs they are supposed to replace (A9, GH5. G9 etc). So we have given up TTL optical viewfinders for EVFs and a more adaptable lens mount. I don't imagine Nikon/Sony really want to see lots of EF lenses being used on their bodies, so I'm surprised someone hasn't come up with a nice hybrid EVF for a nice bright optical view TTL when you want it and then EVF for live view stuff.

So basically If Nikon made a D760 with 10bit 4K, IBIS, and a hybrid optical/Evf it would be exactly what everyone wants apart from not being able to adapt other manufacturers lens to it.

Thanks, @mercer the DB does have a sweet image but the b&w was on a Leica SL that I was trying out.

I was meaning PB doesn’t like m4/3 ?, but yeah the GH5s highlight roll off is going to have to be as sweet as apple pie to justify the $$$

He doesn’t like m4/3 because of the crop factor but if the GH5s is 1.86x like the GH2 then it’s pretty close to canons 1.6x crop with their APS-C.

Any word on dynamic range and highlight roll-off? multiaspect sensor sounds good if it’s the same as the GH2 ratios but the price is getting up there now- lots of options around that price point....

Thanks. The E-M1 has such nice ergonomics and Oly colours, and back then was the only player with IBIS which was great shooting on a rolling boat ?

Well the Movi M10 wasn’t released until 2013 so the poor old GH2 filmmakers had to somehow make do without any stabilisation ?

I tried out some b&w last year for a short vignette.

So the GH5 is a great camera and is capable of great imagery etc etc etc but it is usd $2000 for body only while the GH2 was $900 for body only. I’d say the BMPCC is the modern successor of the GH2 for beginning filmmakers not the GH5. With the GH5A all the features are nice of course but they have the risk of encouraging ‘lazy’ shooting such as relying on IBIS and shooting handheld when a locked off shot might be better or using slow-mo for everything rather than learning how to use 24p to the max before adding in other frame rates. If you’re a seasoned pro then the features are great to speed up your production but for the ‘artistic’ non camera tech filmmaker, I’m not sure. In some ways the GH2 is like shooting stills with one focal length for a year and perhaps encouraged mastering the basics before being flooded by all the bells and whistles.

I suspect the availability of more affordable cinema cameras such as Blackmagic also has a lot to do with the lack of higher quality artistic GH4/5 short films compared to the GH2 era.

I think what we see with the GH5 et al is the result of a lack of intent when shooting. The shoot now and use all the bells and whistles the camera has, and then worry about putting it all together into something coherent at the computer later on.

Ahh just like the good old days when all you needed was your Canon dSLR, a nice bright yellow jacket, some moody landscapes and way too much time on your hands with no kidlets to look after ?

An Ikonoskop A-cam DII