webrunner5

So you want to Have to run around with a external recorder on a small package that would be a big ass package. Why buy a little ass camera to do that. What Gimbal you going to use doing that? A 2500 dollar Freefly MōVI M5? You have defeated the purpose of using a small package. Make it like the PK4. and you don't Need a external recorder. And then the Sony Rumor site says it's a bullshit rumor! Because it probably is. Wishing and getting is two different things.

He said, "The A7S3 has no reason to exist if it is 4k30p like a7III yet cost 1000 more". Did that imply 10 bit, 8 bit, internal or external. I see not mention of him saying 4K 60p. He is saying he won't buy it if it doesn't have it, and I agree, but to be 4K 60p, 10 bit internal, I doubt it.

Than why even bother then. Nobody wants that in 2019 now. Not for 3500 bucks or more.

You believe the new Sony A7s mk III will have 4K 60p, 10 bit internal, Really? I believe it will have it, but not internal. It will be like the Z7 in a sense. HDMI out stuff. I don't see it happening in the same size body. And if they make it a lot bigger why have it. Just buy a real Cine Camera. I think the A7s ought to be a Cine camera anyways. Why try to make a little body do what it can't really do. It Needs NDs, on and on for the money now they are charging. Ain't going to happen in a A7 body.

So how did they get the hiss out of the tapes, pops and clicking on the records. Oh I bet they Digitally enhanced them. Because every tape has hiss, and every record, even brand new, has clicks and pops. Oh I will agree, especially when you get older you can't hear the highs and lows like you could. But I would argue you actually feel the real low stuff more than you hear it, so not sure that end counts. And you have to have a damn near perfect room to hear true Bass. If my memory is still right I think a 40 Hertz sine wave is 14 foot long. So if you have it 7 foot from a wall it basically cancels it's self out. But yeah the high end stuff goes to crap, so the edge that CD's have in more range ability goes away and the playing field gets more even.

True but there is a Ton of old, real old MF Nikkors laying around that will be a hell of a lot better suited for Video work for peanuts to buy. And they Ought to work really well with the new adapter. So it is not like you Have to buy these new lenses. Sure for Photos the new ones might be the way you want to go.

I am not talking about state of the art Analog stuff. I am talking old tapes I have had for years, records I have used for years, on systems that are heck 30 years old or more. They probably sound like shit compared to CDs. But that is what I grew up with, and the best sound to me by far. I don't want to hear a perfect sounding blues song form the 20's! They never sounded like that when it was recorded. It was recorded to sound guttural, not clean as hell. It is the same crap with most film movies you see. They have been Digitally restored and Digitally enhanced. Ergo they look a Lot better than they did when I saw them in a real movie theater 50 years ago. But I don't think they are better. I say they are worse. They are too perfect, sterile, no flaws. It wasn't like that and the mood of it changed. You loose that gut feeling of pain and stress. It just looks like some kind of perfect stuff. The emotion of the Film Stock has changed. It has Morphed into something different. It's like this new PK4 versus the Pocket. I know we have not seen enough footage yet, but it is not going to look the same, ever. Every circuit in the path has been massaged to try and be perfect, more headroom, better low light ability, it is just going to be cleaner, not gritty like the other one. Not some funky Morie coloring at times. less overall noise, on and on. It's like going from a Tube Guitar amp to a Transistor amp. It will be cleaner but not as smooth, not as mellow. It Will be different. And most amps now are transistor, or just have One 12AX7 in it to add a bit of tube sound in the preamp section at best. Are they bad, no, are they better, well that has a lot to do with how old you are, and what you remember what a amp Used to sound like. Back to my just because it is new does not always make it better, at least to an old turd like me. When you get old you look back on the stuff that made you happy, made you smile. And somehow I don't think this PK4 is going to do that compared to the original. But time will tell. But yeah usability this new one will put the old one to shame. So yeah it is a plus for sure on that part. I guess maybe Andrew will be able to sell a Pro LuT to make the new one look like the old one. Win, Win.

Yeah but hell I can buy an original FS5 for 3500 dollars all day. Ain't no way I want a A7s mk III over that unless I Need the form factor. Sure no 60p in 4k , but I doubt it will be in body on the new A7s mk III unless they have redesigned the body. But 60p is a big deal no doubt for a filmmaker.

Oh hell I am sure it will appeal to a larger audience than the old Color Science of the Pocket. And that is a good move on BM's part. Hell they want to sell cameras. Everyone, including Canon has changed their Color Science in the last 4 to 5 years. Even Arri had to moving to true 4K. They go with what is in at the time. And a more Pure look Is in like it or not. And I think most people like it. You believe what you want. I was there from the start. And for pure frequency response sure CCD wins. But something having too much does not mean too good. CCD's to me were eyeopening when they first came out, but ended up being brash, in your face. But my tapes and records, even with hiss and pops were, well, they were more relaxing, more enjoyable. Just more laid back. Kind of the reason I want to listen to music. Now if you want to listen to Headbanger stuff, I do at times, sure probably CCD works better for that. But I am a Blues, Jazz man and I like that a bit more subtle to be honest.

Sorry to ruin your day, but it does! It is WAY better.

Nah I don't think it will ever be the same. It is a whole new sensor from a different manufacturer. It is sort of like the CCD sensor versus Bayer thing. I don't care what anyone says CCD had better colors, but sucked ass on low light. Sure it might get close but it has the "new" look to it, which I am not to fond of, but for what most people will use it for, it is probably the right direction for BM. And if you are going to try and make money using it that look is "in" now, and it is what younger people take for granted. They want sharp, detailed stuff that pops. Even the perspective from s16 to m4/3 is different, so that has a role in the overall look. I am sure there will be a LuT that makes it close, but we have a lot more footage to look at down the road so I am not giving up yet. But not everything that is new is always better, especially on the video side.

I don't know if this video has been posted on here or not. It is a bit old, battery info he states is wrong, but an interesting video by Wolfcrow none the less.

I don't know. From what I have seen so far it has sort of lost the magic the BMPCC has. But I want to see something in 1080p. Maybe you can't get a real organic look in 4k. It is in a sense too good. But i will admit the skin tones JB is doing, especially the last video seen on Vimeo is really damn good.

No it is not repairable easily. Now maybe His camera needs to have the contacts cleaned, and it Might work on your camera. For that kind of money, if you don't already have that lens sure it's worth it.

Not too impressed with the Yashica ML 50mm f/2. The Nikon looks much better.

That was Really well done, even with the music.

Well Hammering Dog shit Ain't easy you know! Lot of beating repeatedly. Carpal Tunnel Syndrome is a potential result.. I sort of felt like this guy after I watched it. ☺️

OMFG, that looks like hammered Dog Shit! You can Not be serious!

It was a camera roll out. Nobody, probably even Sony, didn't know about the problem. Hell they probably gave the guy a raise! Nah, not a raise, Nikon hired him, hell maybe he already Did work for Nikon?

Ahh , so it is more of a PDAF problem. Interesting. Nikon might end up with the same problem on the Z7. Yeah that Jim Kasson guy is a smart cookie LoL.

"The striping does seem to be limited to certain lenses: the Sony FE 85mm F1.8 is particularly prone to this issue" From DPR. It is internal reflections causing it in the lens. No clue if they have fixed the problem? https://***URL removed***/news/6974141509/sony-striping-heres-the-fix

I read that in 2019 they are going to take that limit off of Everything in the EU. Stupid rule to start with. Money grab from hell is all it was and is.

I don't know. I don't think there IS a camera that is great at, set exposure and go. I think this Run n Gun stuff looks, well it looks like Run n Gun, and on average that to me means sloppy, out of focus, crocked horizons, crap WB at times, shaky footage, on and on and on. Ergo, just shoddy, rushed looking filming. I really don't like the trend to be honest. We really are not going to have a camera that thinks like we think, see's like we see. I don't think there is hardly anyway to do it on Auto and do decent film making. Now I am not saying it has to be a giant production on every shot, or have to be on sticks, but running around, Hoping to get some good footage, and linking it all together in a smooth flowing coherent sequence is a pretty big expatiation for a quality output. Now if you want some short that has a cut every 2 seconds, well yeah that works, but I may get Vertigo watching it along with others LoL. I am not saying a person is suppose to try and make a feature movie every time you go out, but hell Anybody can shoot crap footage with a mindless plot, that is easy to do. Shooting good video footage is 20 times harder to do than take a good photograph. Heck in a sense have you to take 4,320 good photographs @ 24fps in a 3 minute shoot! Oh then you get to edit it all, add sound or edit sound. Yeah, not easy at all. But sure, every idea can be a film, every style can work, at least in the creators mind it does. So there is no right or wrong way. Heck if so it would all look alike. But tying to do all of it in auto, set exposure and go, well it's not that easy sad to say. At least not going to happen well very often. But it has gotten easier to accomplish now no doubt. Heck take up knitting, it is a hell of a lot easier, and cheaper to do LoL.

Sounds to me you would be better off with a Bridge camera. A Sony RX 10 mk III maybe, a Panasonic FZ2500? Yeah they are not a Red camera, but they are better than phone stuff, point and shoot stuff. This new 1" sensor stuff is actually pretty damn good now. Heck of a lot of ENG work done with them now. I think the main thing is how fast of a turn around you want. You want good OOC stuff, or work your ass off on a BMPCC, this new PK4? No such thing as both great looking footage and fast delivery. I think all of us one here that aren't making a living doing this stuff spend too much time on GAS and not enough on the story. Not enough time just going out and shooting. Just buy something, anything and wear out the buttons and dials learning it and probably do better than the new camera of the week. Hell I think learning how to edit and grade well is becoming more important than a better camera by a long shot.

Followup on the Nikon Z cameras from Tony & Chelsea Northrup.