PannySVHS

Lovin it. Filmed some leefs and branches moving in the wind outside my window today. Light was glowing. My dirty window glass giving beautifuls distortion to the image. Filmed in 8bit internal SLOG with my latest GAS powered Sony F3 and Tokina 28-70. Heavy beast of a camera, which will heal my GAS! Shot the same sight with my Panny S1 afterwards, 8bit rec709 profile. Both cameras gave me beautiful images. What an afternoon, feeling completely satisfied :) Loved the text of your video @jgharding

That´s what I thought.:/ It turned off without any message at all when I was snapping some photographs. Lens was the beloved Tokina 25 - 50 F4. Yikes.

Nothing like an old thread. Nothing reads like it, lasts like and has been itching its latest posters like it.:)

Is it possible to record with the Shogun Flame? I connect my camera to it, but recording doesn´t work with it, neither by triggering with camera nor directly.

Cool! Cannot wait to hear how you like it! I got the Unitor labeled version. The Soligor version was pretty well received back then by photomagazines. If you look at the original magazine ad, you can see, Soligor was selling it as a pro lens. I bought mine as a poor mans Minolta 35 - 70:) The Minolta in version III is supposed to be one of the best 2x zooms. So it is a bit adventerous that you bought that Hanimex since you own the Minolta, Andrew.:) @BTM_Pix That´s a steal! 2x zooms are something to check out, as often written on this forum. My Tokina 25 to 50 is really cool, giving cinematic quality to light by an instant. Mine is even parfocal at 25 and 50mm! One thing from other testers about this lens, wide open it is very sensitive to reflections and backlight but otherwise still nicely resolving on sensors. Back to the S1. If Panasonic can give us perfect HD on both the S1 and S1H up to 60p I would feel spoiled! Until now it seems worse to than G6 regarding mushiness of textures and aliasing. There is one thing I wanna share with you. I hope it´s only an exception. My camera shut off with 25% power left on the display. I was using the original battery.

GH6, S35 sensor with mft mount like LS300, still with IBIS. Full 3 to 2 sensor readout at 60p and 4K at 120p. Internal Prores plus h264 and h265 flavours. Timecode In and out. Battery grip with SDI. Full VLOG with true zero sharpening and noise reduction. Flawless HD like GH5, which S1 and S1H don´t provide that unfortunately. 10 bit in high frame rates. 2000 EU. Deal! I enjoy mine. Have only tested it inside and was surpised by its image quality on speedboosted mft.

S1 has some crazy tricks up its sleeves. Shooting at ISO 4000 in super low light and pushing it to 12800 eq. I would rate it four stops above a GH5. It has insanely high resolving 4K and astonishing colour reproduction at high ISOs. Putting a cheapish wide angle on the large sensor is satisfying and saving your bank savings.:) The more expensive S1H has the glorious open gate full sensor readout afaik. Interesting enough I have not seen impressive footage shot with it. People keep flooding youtube with their findings of flowers and slomo hair parade. GH2 users have done impressively better back then. @omega1978@Andrew Reid Guys, how about recording to a Shogun Flame. My camera didnt allow me to record externally to it. Any ideas? Have latest firmwares on both. It gives a signal and an image to the monitor. But thats where it already ends. @omega, I would wait for a better price, as you might have another opinion than me about the qualities of this lens.:) I paid little for it.

Wouldnt dare to do that. Didnt dare to ask him when he sat almost right behind me, being in the jury for the documentary section of the festival. At least I got to ask Michael Chapman a few questions four years ago at Camerimage. Friend of mine is a member, so let me think:) @BTM_Pix the appealing part is the lack of thickness of the solution and being set up with just one cable. What cable would I need to look for to channel image and power to the display? Just an ordinary sdi cable giving power connection and an analogue composite? Suggestions for a monitor? Not meaning to be lazy doing my own research. Maybe though for today. Thanx and cheers!

Check out the G7. Besides the 4K it has beautiful HD. Much better than GX85, better than G6 and sorefore assumingly better than GH2. HD codecs of GH3 and GH4 are beefier though.

@BTM_Pix Thank you for putting some light into this mystery. Still a mystery though.:) The cable leading from the EVF/Monitor is not the SDI kind? Where is it drawing power from? Year is around 2012 I think. What else could we find out about it? The glasses are rather expensive, close to and even four digit numbers. Photo above is priceless.:) cheers

Exactely. Super cool looking on the S1 with the 50mm 1.4 on it. Tasty Lumix C200:)

Indeed. Just for FD mount though. You can get the lens for less than 20 usd. I also have the version with separate focus and zoom rings, which I think is preferred. It is creamy and still pleasantly resolving. Highly recommanded. My FD adapter is from cieco, an adapter manufactor from Poland. It is pretty unique in not having a locking ring like the other FD adapters have. Beautifully build.

Hey Zak, would love to see some of your material lit with it, also some EVA1 footage. Do you still post these awesome little cam and lens tests on your vimeo channel?

Hallo friends, I won´t bother with a SI2K Mini due to lack of opportunity. But this has been bugging me ever since Cesar Charlones photograph hit my eye. Unfortunately I missed out a big opportunity to ask Cesar Charlone himself at Camerimage last year when he was sitting right behind me: What in the name of mankind is this awesome tiny monitor / EVF you were wearing? I was researching about master Charlones movie sets. Was enlarging BTS photos, was doing my google research tricks. Nothing. No insight found. It is not a Cineroid, which would be way too bulky. It is a phantom. What a DP and what a kewl EVF! So dear lens nerds and camera geeks, what is that EVF or monitor that was in Cesar Charlones box, whenever he put it away from his eye? May your research begin. Here is the man himself shooting with the Si2K on set of "La Redota". Smiling like an enigma of cinemagic. What a legend! cheers

Love this part! Massive camera. So is the resolution. It really takes a while to get used to it. Even with super wide 20mm Canon FD at 2.8 it seemed hyperreal.

One little tip about super low light: Shoot that beauty beast at 4000 ISO and push it in post. Much better than using 12800 or 16000 iso! Was only using 8bit and the 72mbps 10bit mode, with the latter being much better in super lowlight.

Puh, I had to thank you for this before even read completely. I had been worried about the expense due to the current times. Bought it last year as my Christmas gift and have been struggling a bit. I took me a few talks and evenings with friends to really start to appreciate this camera. But these talks about lenses and my thinking about lens choices and FOV and all that gave me back that exitement. Awesome to be able to shoot with a beast like this. Putting a Unitor branded Soligor 35-70mm 2.5-3.5 zoom on there and cinema heaven is at your palms. Now all one has to do is to put it infront of the camera as well. cheers and thanks for all that inspiration all those years, @Andrew Reid

GH2 and EOSHD got me hooked to this way of filmmaking. Dpreview and Steve Huff with their reviews into the GF1 and EP2, two mft photo cameras. All three got me into gas. I thank you for that.:) I also remember Andrews article about Shane Carute and Upstream Colour. Would love to see that film in Bluray quality some day! Just read into the article again. It´s a gem: "Sometimes to crush the blacks makes what detail you still have in the lows more noticeable. A greater contrast and a greater tonality. Colt’s best move here was to increase fill lighting to bring up detail in the blacks but the colourist and camera maintained a punchy high contrast to the image."

@canonlyme I have the Tokina in the "Angenieux" F2.6 Version in Nikon mount. I loved the look from 2.8 (2.6) on, through all focal lengths. From my testing back then pretty consistent regarding colour and contrast. Unfortunately didnt get it to inifinity due to crappy adapter on my EF to mft focal reducer. Tested it again on my Sony F3 this week, perfect focus to infinty with a rock solid FZ to Nikon mount. Awesome! So, yes you can easily adapt it to the pocket. It comes in nikon, canon ef and minolta Amount versions. Nikon version is the only one with manual aperture afik. 200 for the Nikon version in good condition is a great deal. It is not even too hard to find. Would recommend a cheap NF to MFT focal reducer to really make it shine on you camera.

Darn, looking good. Top one looks especially good, very three dimensional. Rich tones. Awesome. Cannot wait to test and film myself. Picked mine up today after a long trip through Berlin with public transport. With topplate and baseplate, plus PL and Nikon mounts. Pretty camera to look at and to hold. EVF swifel seems weak and ND mechanics very placticy. Reminds me of an AF100. I really liked that one. I called my F3 my Sony AF100 today. Now I need to rent some PL glass. Hopefully soon. cheers and thanks to you and David to make me buy this camera! Got a shogun flame to hook it up with. So with the 444 update 60p might work too. What lens did you use?

@heart0less Hey, whats your name?:) Yes, hopefully people will find ways to learn to behave smart, calm, considering and supportive. Hopefully innovative economic processes and social fairness will develeop as well as needed. The free market shows its limits as a controlling tool for the needs and challenges of a recession of this kind. Parallel to practical and systemic needs we need to cherish our happiness as well. Was a pleasure to post this and happy that you liked it.:)

Hallo Andrew, these are the EOSHD gems, your library of articles! People of this forum have often talked about your classic articles. I bought a F3, PL mount camera for cheap, and discussion was again about older cameras, how some of them hardly go for low prices. The A cam Ikonoskop is a prime example of that or Digital Bolex, F3 is not of course. If you still have your Bolex, it would be awesome to see some footage again of Berlin the way you see it!! You know Rob from Slashcam? Super cool! HD-shop, they were distributor of the Kinefinety cameras I think. Bought an EF to MFT booster from them once.:) Back on topic. Ergos, picked up my F3 today, corona mask experience in Berlins public traffic. That camera is pretty as heck. But cannot say much other than how it reminds me of the Panasonic AF100. It is one of the coolest camera bodies I had the pleasure to mess around with a bit when a friend of mine bought one two years ago. Now I got my own Sony AF100 with a mix of external 444 glory. So, my pick, AF100. I will see how the F3 does in that regard.

hey friends, filmed made last may. but also did a quick one last week. so, here some pre corona single room fun:)

@Geoff CB Are you using one of the idts from Ampas, which one? So thats for the material stored in SLOG curve, right or linear uncompressed? Do you like the color equal stored in 422 and 444? Is it possible to output 444 and record 422? Guess I will see myself soon enough and come up with more questions.:) Would be awesome if you and Dave would post some footage if you get chance some time.

David, that´s awesome, so that means it´s a legit "Ironfilm Sound beast camera" then! Awesome! I didn´t find any TC jacks on my FS700! So Geoff, what´s your take on the image of the F3? I recognized that pans and tilts simply look beautiful with it and color and palette are beautiful. Now that David gave this camera its sound and Timecode credibility I am very happy about the purchase. My first real cinema camera. 444 with less than 400 hours on it, beautiful, PL and Nikon mounts included. Anyone want a FS700 with 4k out?