mercer

For the m4/3 shooters, Pan/Leica 15mm 1.7 or Sigma 16mm 1.4?

Think you mentioned the C500 II... on B&H Deal Zone today for $4999. https://www.bhphotovideo.com/c/product/1633519-REG/canon_3794c002_eos_c500_mark_ii.html

Exactly, the worst part of the P4K is the body, one of the best parts of the OG is the body. With a different comparison, I saw a video today of the BMMCC6K held up next to the Pyxis and I couldn't believe how big the FF 6K is... it looks bigger than a 1DX and other than form factor, not much smaller than the Pyxis. The Pyxis seems like the obvious choice between the two. I sure do, that's one thing I do know. Ha, I know that even more. I feel like there are so many good cameras out now that you almost can't go wrong, but like always, the best camera is right around the corner and we're just in a betweener stage. Maybe you just need the Z mount Komodo X... problem solved. Canon should just buy BM, and then I can hate them both together.

If cost isn't an issue and your intent is narrative filmmaking, then why not get an Alexa Classic?

It has the same sensor as the P4K, right? How do you like it compared to the original? Did you order a Komodo yet?

I assume you'll be able to navigate the menus through the monitor?

In that case, why don't these companies just do that? A 2.5k or 3k raw image from a 6K sensor would look amazing, need less storage, have better rolling shutter? Higher frame rates, and be closer to the OG Alexa resolution. Why do they have to force crappy versions just to keep the resolution higher?

Was excited to hear about the internal raw recording in the Z5ii and then a little less excited when I watched the Gerald Undone video... and then when he started showing real world footage, he was literally wearing a Sony Alpha jacket while recording a Nikon review... why are these competing companies sending him these cameras? That said, the review was fine, raw implementation in an IBIS body, with decent AF, at this price has been a dream of mine, but it seems like there are so many gotchas that I am left bewildered why these companies even use raw? If your'e going to add NR, then what's the point of a smoothed over raw file? I shoot raw because I prefer the gritty textures that feel like you could reach into the frame and touch it. I said in the Komodo price drop thread that I wouldn't be a customer, but at the current price, maybe I'd be better off saving up for a Komodo. Theoretically, that camera could provide a viable image for the next 5-10 years for me. And with all that said, it is still exciting to see raw video to an internal SD, with these features, at this price point. When I read this post, I had already thought about posting my FP up for sale and preorder the Nikon, now I'll wait to see how it does with more serious shooters in the coming weeks/months. The FP lives to see another day.

Now I am in no way comparing the 5Diii with ML Raw to your more expensive cinema cameras, but I do agree. The first time I looked at the screen after installing Magic Lantern onto my 5Diii, I saw something a little nicer than anything I had seen on an LCD before. With a few very minor tweaks in post and I was able to get images I had no business getting with my skill set. When I tried the same thing with the FP, I didn't see it and I wasn't able to get the same level as easy in post as it was with my 5Diii. Weirdly, I noticed it more with the 4K 8bit cDNGs than I did with the 12bit... although I admit that the 12bit is a superior image... if only Sigma would turn off the damn NR in their raw files. Anyway, it was definitely easier to see than any run of the mill mirrorless I have used since, though. Although the R7 amazes me in some ways. From what I have heard from various people online, @Mattias Burling included, that quality is there with Redraw, Redcode... whatever it's called. That doesn't mean that modern mirrorless cameras aren't capable of creating amazing images. They obviously are. With the advent of raw codecs and post workflows, I agree that the gap is getting smaller, but... That said, I have no business owning a Komodo, so it doesn't mean much to me and more than likely, depending on what the R6iii looks like, I'll probably buy a Z6iii next... of course I have been tempted by the FX30, so I may give that a shot in the meantime.

Except not all raw video is the same. Most people I have heard that used Redraw have specifically stated how nice it is to work with. I think Andrew has confirmed that? To compare it with another raw would require someone who has both.

Idk, cinema cameras cost a lot for a reason. As far as mirrorless cameras have come, they're still not proper cinema cameras. In a lot of instances, the benefits of mirrorless may outweigh the benefits of cinema cameras, but at this price point, it's hard to argue against the Komodo if you intend to shoot certain types of projects. If not, then it's a simple pass. I will say it makes it a bit harder to justify a few other cameras at a similar price point. But this price will go away once they run out of the bins of RF mounts they have in stock. The questions is, what will Nikon do next? Will they replace it with a similar camera at a similar price?

And Arri may have mapped it.

What's interesting about the LogC license is that it was probably mapped for that specific sensor. The vLog could have just been tossed in. Maybe. Either way, cool camera and shots.

Agreed. I think Canon themselves have often referred to themselves as a lens company first. That said, any loss leader benefits us. As much as I hate the price of Canon RF lenses, like you said, now Sigma has some fairly inexpensive offerings and the Canon full frame f/1.8 lenses are pretty decent with a solid build. I really enjoy the 24mm 1.8 on the R7. With any aps-c camera I would purchase going forward, I would mostly buy FF lenses. The Sigma RF would be the exception. And maybe Sigma 18-50 on the Sony FX30 if I was ever inclined to go that route.

Pretty wicked for a $650 camera. Is there any other new camera that offers 10bit 4K, top of the line AF, log profile and false color at this price point? I'm really digging the body style too. If only it had ibis, I'd pay $1000 for it. Other than that, it's fixes everything I dislike about the R7... of course like the R7 (with zebras) I'm sure you can't use both focus peaking and false color at the same time. Fun camera in theory let's see how it works in practice. Right now I'm watching Cam Mackey's latest YT that's shot with a t5i (well he's "showcasing" the t5i and shooting with the s1rii... I kinda like the t5i footage better...

It doesn't have a full HDMI, SDI or proper timecode. FAIL. For me, it doesn't look as good as my 5Diii, no internal storage and it doesn't have IBIS. WTF... Why didn't anybody tell me this? Haha, but I'd still argue that BM neutered everything that was cool about the OG Pocket's image for those other things, without adding the better battery life... but I guess that's debatable because there are so many different low end, +K BM Pocket models that it's hard to differentiate which one does what or all of those things. "If you want better battery... well then you have to upgrade to the 6K... better screen and internal NDs... you my friend will need the 6K Pro. If you just need 4K and a better screen, then the 4K will work for you... but just a warning it is in no way pocketable, but by pocket we always meant it had a built in hand grip and was shaped kinda like a regular camera not that it could actually fit into a pocket. Also the image just isn't as cool as the original pocket... but with the included software you can just do it in post." "Ok... cool. But I shoot events and YouTube content" "Then you will want one of our various switchers. We sell them too" Blackmagic Design, your all stop shop for things you don't need that end up being a lot more complicated than Premiere and FCPX.

I think the elephant in the room is that Nikon is clearing space in their lineup. I assume they want to get a little bit more out of the Komodo before it's discontinued for their lower end cinema camera. A bunch of good news here. If somebody is in the market for a low end cinema camera, can you do much better? Pyxis vs Komodo? Other than FF fanatics, the choice is pretty clear. other good news... it's possible this pricing is a sign that Nikon may be replacing it with a similar priced camera in the future. As far as cinema camera popularity, it's hard to judge from this site or even from YouTube. How many times have we seen/heard people want a cinema camera... the P4K was a great example, but after the, BM Overlords are demigods for giving us soooo much, talk subsides then you see a lot of BM cameras for sale on eBay. How many times do you hear (myself included) if the FP was just everything that it wasn't designed to be, then I'd love it. Or the C200 shoots internal 4K raw... that's fucking amazing... what a fail though because they didn't offer an internal 10bit codec... Cinema cameras are a pain in the ass to use and aren't for most shooters, especially the people who frequent this site. Some offer better IQ than most mirrorless cameras, but mirrorless cameras are easier and a lot of times, more fun to operate... But that Redcode...

Does anyone know the value of FD L series lenses? They ballooned years ago, and I was lucky enough to pick up a 50mm 1.2 L for a pretty decent price before they were compared to the K lenses. At the time I was only shooting video on the 5D3 and had it modded by Simmod to the EF mount and declicked. I didn't add a follow focus gear or a larger front ring since I pull focus from ring. I've checked eBay but the pricing seems to be all over the place.

Thanks. I shoot raw video with either the 5D3 and Magic Lantern Raw or cDNG with the Sigma FP. Recently I've been treating their raw files as rec709 in Resolve's Camera Raw Tab and then after those basic adjustments, I use an S-Curve LUT, Log Wheels for micro adjustments and tweak the color channels in the RGB tab. Obviously, I'm going for a dark, moody image, but I have a horrible monitor so I'm never 100% sure what the final output looks like on other devices... Basically, I just tinker with it. One day I'll make a movie that will be constructed of the coolest b-roll shots I can take with the most dramatic lighting possible. I've yet to come up with an interesting plot for that film.

Speaking of Nikkor non-ai lenses, I have a small set with the updated "c" coating, the 28mm f/2, 50mm 1.4 and the 105mm 2.5. All are in mint condition, but they could use a CLA. Those old non-ai Nikkor lens' focus lubricant dries up pretty good, and although the focus is smooth and holds, it doesn't have the same dampening as older Taks or Minoltas have. Anyway, can anyone recommend a lens tech in the US. I'm in the Philly area, so anywhere in the mid-Atlantic, northeast would work.

Sorry for the repost but after second thought, I realized that this wasn't shot with the Super Takumar 50mm 1.4, it was actually shot with the Nikon Nikkor 28mm f/2 N.C. non-ai lens. I was using the Tak a lot last spring/summer, so I just assumed that was it, but the close up bothered me so I went back to my notes. Anyway, I didn't want to misrepresent the lens...

I think that's the average profit the camera manufacturer is making.

The B&W footage looks cool. The location probably helps a little. Thanks for sharing. Hopefully that blonde haired woman was/is a friend/girlfriend/wife and not a ghost you accidentally captured on video.

I don't know enough about them to recommend anything. I have the 40mm and I think I have a 28mm lying around too. Hmm, I never heard that. I messed up an old Yashica m42 lens years ago trying to declick it. And I've declicked a few Minolta lenses (mostly Celtics) with moderate success. The one issue with Minolta lenses is that although it's simple to do and there's a bit more friction to the aperture ring than say a Zeiss Jena, the aperture sometimes won't stay wide open and closes slightly. Now this was without any grease, so using grease may fix that. Stupid me decided to declick a 50mm Celtic Macro lens. I ruined any resale value, but it will stay open without drifting.