mercer

I’m fairly certain I will end up buying, or at least renting, a P4K at some point but I don’t need one yet and I want to wait and see what happens with a few other developments. I spent hours upon hours searching for an HDMI variant of those small EVFs when I had the Micro. If something like that was available, I probably would have kept it. I assume there’s more to it than rewriting it with an HDMI wire and plug though? Yeah, I think I may look for one. I was thinking that 50mm and the older DG 24-70mm 2.8 could be a nice two lens set. I don’t have any zoom lenses anymore. Great captures of... your wife? Without knowing the woman, you’ve really captured her kind eyes. I assume so as well, maybe that lens should be thrown into my 10, or less, lens collection... it could be beneficial while shooting in public. Without a doubt, please do. I bought my first 85mm a couple of months ago and it’s quickly becoming one of my favorite focal lengths. It seems to take the positive attributes of both a 50mm and a 135mm and meld then together. I’ve seen some great prices on that Zeiss 85mm lately as well, but I’ve decided that the Contax variant would be a rabbit hole for me that would force me to spend more and more and more. How big is that 85mm?

Either way it looks great.

@BTM_Pix that looks great in B&W as well... I love how the darkness is trying to engulf the guy. Please post the examples if you test that 7artisans on your P4K. I get the bonus of an external recorder with a screen but I don’t like the added bulk. Regarding my 50mm tests: I’m looking for a fast lens that is undeniably sharp wide open. All of those samples were shot wide open, so it’s not the best of scenarios for the sharpest of images but for me it’s a balancing act of available light while fighting the glow of a wide open aperture. My other concern is having too many options. I have a shit ton of lenses... most of which I need to sell. Of all the lenses I own, I have narrowed down my keepers to 14 or 15, but I really want to cut that in half... I’m too indecisive to have that many options. I’ll constantly second guess myself and wonder if I should have used a different lens, so I may give up on my plan of owning multiple lens sets. I’ll definitely keep the Canon EF lenses because they’re native lenses, I really like them and I’ve already started using them for my film. However, I need to be more discriminating with my other lenses. I think I need another round of 50mm lens tests and I think I may include the older Sigma 50mm 1.4 into the lot and take out the Canon FD... since that lens is a no brainer for what I paid for it. I’ve always wanted to try a Sigma lens and I’ve heard the EX-DG is practically as good as the Art lens and since, some of, one of my favorite ML Raw videos was shot with the Art version, it may make sense to give it a try... But I have a feeling a lot of that video was shot with the Canon 70-200mm f/4 L lens. Anyway, I think I have to decide between wants and needs. I guess the smart play would be to keep the Zeiss Rollei lenses because I paid so little for them and they’re pretty good wide open with a ton of character. And that would give me a set of Canon lenses, a set of vintage Zeiss lenses and then I can keep a couple of single lenses that I really like but aren’t a part of any set. On a side note, have you ever tried the Nikkor ai-s 85mm 1.4? I bought a copy a couple of months ago for a song, but I haven’t had a chance to give it a good try. It’s so big and clunky that it will have to WOW me to keep it, but from I’ve heard about it... it may just do that. But since I already own two other 85mm lenses... it will have it’s work cut out for it. Anyway, sorry to all for the extraordinarily long “life problem” I’m encountering, but with me sometimes it’s easier to talk it out to figure out my best option. So speaking of 85mm lenses and to keep the thread on track, here’s a B&W shot of the Zeiss Rollei 85mm f/2.8 shot wide open...

Hmm, I took it the other way around based on the comments... hahaha.

Yeah that looks great. I’d love to know where he used which camera. I have my guesses from looking at the trailer. I assume the X-T2 was the main camera and the GH5 was the run and gun handheld camera.

One day when I am seriousl about photography, I hope to get a real camera. I’d love a Leica or a Sigma Quattro. I’m keeping my eye on the Z6/Atomos development. I don’t think I’ll completely turn my back on my 5D3, but I must admit that some IBIS and Raw does sound cool. Like you, though, I’d like to see an updated Ninja Star and forego a screen. Have you tried that 7artisans on your P4K? That 12-32mm P4K shot you posted yesterday is some of my favorite stuff from that camera. I love the color of your Leica samples... how did you handle the middle photo... it looks wicked. I really like what 7artisans are doing. If I ever get another M4/3 camera, or my first Fuji, that 35mm 1.2 is on the top of my list.

Holy shamoley, that’s a bobby-dazzler. Christ that looks nice... but I assume there isn’t an EF version?

No winner yet, that was just the first round. I’m going to keep the FD because it was so cheap and it blends in nicely with my 28mm and 85mm EF lenses. It actually fits the gap so nicely, I’m starting to question keeping the 35mm f/2. 50mm lenses have always been a staple for me. In a lot of ways, they’re the only focal length that I feel comfortable having just the one lens without having a set to go with it. So I guess the question will be which Zeiss I like better. And if the ZF wins, is it worth ditching the small set of Rollei Zeiss for an even smaller set of Zeiss Classics... as I only have the 50mm Planar and the 28mm f/2 Distagon... of course... with that lens, what more do you need? I haven’t even tested the 28mm yet. It was a spur of the moment purchase that I got for a great price, so I am afraid if I test it out, I might just like it too much. With that being said, since I really like the Rollei Zeiss 25mm, I’ll probably keep that set and sell the Zeiss Classics. I don’t know... I feel like I need one more fast 50 to help me make an overall choice... any suggestions?

From the same nifty fifty lens test, here are a couple from a Canon FD 50mm 1.4 that was modified to Nikon F and then adapted to EF... lol...

It’s weird, the Zeiss ZF has more wow and it’s almost always there. With the Zeiss Rollei you have to find it, but when you do, it slaps you in the face. Good catch, I hadn’t noticed the shape of the bokeh balls... I’m pretty sure it’s coma but you raise an interesting point... sometimes the flaws in lenses add some character to your image... I’m sure a lot of people would disagree with that, though. Not a hundred percent sold on B&W for my film yet, but for the lens tests I enjoy doing... it’s nice not to eff around with color grading... at least until I get a better monitor.

Here’s a couple frame grabs from a recent 50mm comparison test I did. The first is from the Carl Zeiss 50mm 1.4. It’s the ZF.2 version... And this one is from the Carl Zeiss 50mm 1.8 for Rollei QBM... Different type of shot, so probably not the fairest of comparisons...

I don’t but I probably should. I’m getting more into my dialogue scenes soon, so I may. However, since the metadata screen looks like a slate, it would be so great if they gave you a 3-5 second overlay of that “slate” at the start of every clip and perhaps even a pulse tone.

Good to know, thanks for the update. I am waiting on deciding if I want to give the P4K a test ride until it is readily available to buy but my gut reaction is that this is the ProRes camera for a seamless FCPX workflow. Since I’ve decided to wait a little while to order one, I’ve been a little behind with some of the features. But I recently saw a video where it seems you can set up metadata as if it’s a slate? Does the camera give you a clip of the “slate” at the beginning of your clip as a visual reference, or is it just embedded in the metadata? Otherwise, the menu system seems to be simplistic genius and very intuitive.

Any word if Resolve will still work with DNG files in the Raw Panel? And will the Pocket and Micro lose DNG in a firmware update?

I guess... but at the end of the day... they’re all just cameras. Do people really waste time making fun of other cameras to justify their own purchases? It’s not like these other cameras are now obsolete because the P4K was released. In my opinion, it’s not worth getting angry or bitter about. And when you’re on a winning team like BlackMagic, why be annoyed? You have a great camera, and if someone is posting for nefarious reasons, you’ll have the last laugh.

Idk, I think this forum has been pretty positive about the P4K. In the almost 400 pages, I would assume there are 3 or less pages of negative comments about the actual camera and some of the those criticisms are issues that should and most likely will be addressed by BM... they have a pretty good track record addressing issues. Maybe it’s just me but I really don’t get forums anymore... since when is it so negative for people to raise concerns?

OT - but how do you like the FS5ii Raw? Is the Odyssey CDNG only or can you shoot ProRes Raw with it? Also, how’s the Venice color with the internal 10bit 1080p?

Well BM already has with the OG Pocket and Micro. But you also need to remember that what makes sense to you, won’t make sense to everybody else... I have an EF Mount Camera that shoots FF. I am so tired of adapters that the camera needs to be small and cheap for me to even mess with them or give me something that I need. Even a SB is another piece of glass I have to worry about keeping clean. I just spent 10 minutes replacing a QBM Mount Zeiss lens to EF with a Leitax adapter because I just don’t want to mess with adapters anymore. And even though the P4K is cheap, it’s also at that price point, especially when you factor in the add ons, that I would start considering other options and features from other cameras that are more important to me than Raw... I already have a Raw camera. And there are also plenty of younger filmmakers that just can’t afford a $1300 camera. So I can totally see a huge market for an 8:1/12:1 B-Raw and/or a ProRes 422 or even just LT camera at half the price. I’m sure there are cheaper sensors and smaller screens that BM can source and make a killing on. And like I’ve said a hundred times... the P4K is amazing and eventually I am sure I will buy one... or at the very least, rent one. And you aren’t kidding... I remember shooting on VHS and Super 8, so it is absolute insanity what’s available now.

Does the P4K batteries drain with the power off? That was one of my major issues with the Pocket and Micro. With the Micro you’d have 45 minutes from the time you inserted the battery until you needed to change it. With the Pocket it was even less. With my current camera, I can get an hour with the camera on. So 45 minutes isn’t bad if it holds charge with the camera off. Also, how long does it take to power on/off?

Well, I did say under a thousand... so $800 would be the price point. And although the P4K is amazing for the price... they don’t own the indie camera market yet. And, and although the P4K is great, it’s still a little big for my tastes, I don’t really want to get into M4/3 at that price point and there are plenty of beginner, zero budget filmmakers that can not afford the $1300 (really $2000 when you add the peripherals) so I was just amusing... hoping that BM will consider a truer Pocket/Micro upgrade. I’m sure they won’t, but a guy can wish right. But I’d Z-Cam can have a C option at $800, I’m sure BM can come up with an ultra low budget option. JMO. Yup, basically a Micro with a tiny screen. I look at all of these new cameras with a very strict “vs” what I already own and what I’ll get with a new camera. And although the P4K is awesome, it really isn’t anything I need and in some ways is a step back from what I already have with a lot more headaches. So for me, a smaller camera that I’d buy one or two native lenses and use as is with batteries and card media would be a great reason to buy a second camera. As of now the possible Z-Cam E2-C may be that camera but I’d love for there to be a BM option.

Well what do you know... I stand corrected. I never thought BM would give B-Raw to the P4K. This camera just got a little more intriguing to me. The fact that you can do 8:1 and 12:1 with SD cards is pretty insane. With their releases, I wonder if a B-Raw only camera is in the pipeline at even a cheaper price point... I’d love to see a true Micro/Pocket version 2 at around $800. Hell, B-Raw 12:1 up to 48p, under $1000 and they would own the indie camera market. They don’t even need to include ProRes to save some money. I guess they should fill the preorders before they release a new cheap camera though.

Idk, I predict Mr. Reid will have a new post about the RP that begins with... “The RP is total crap... but...”

That’s true, something is better than nothing but you can get 5-axis with those lenses on a Sony. So if the a7s iii has the goods, then why even mess around with a Nikon camera for my Nikon lenses...?

Well Panasonic has Dual IS which is a combination of 5-axis IBIS and OIS from their lenses. I think Olympus may have something similar but since they were/are on the forefront of IBIS, most of their lenses do not have any OIS. With both Panasonic and Olympus you get 5-axis IBIS with any adapted lens. I am really intrigued by the Z6 and the potential Raw output but I am one possible customer that is kinda annoyed by the Z Mount when Nikon already has such a plethora of legendary lenses in their catalog. With that being said, times change as does technology, so if they felt the Z-Mount was a better option going forward, who am I to say but as a potential Z6 customer, the fact that I can only get 3-axis stabilization with my Nikkor 35mm 1.4 and 85mm 1.4 ai-s lenses makes the entire purchase a little less desirable. I guess it’s better than nothing but 3-axis on a fast 85mm relegates it to monopod use instead of the handheld possibility of 5-axis.

I do sometimes. With some wide shots you have to let your highlights blow out a little bit and a vignette can be a subtle way to help reign them back in.