eatstoomuchjam

I'm going to go on a limb and say that almost nobody needs 12K resolution for anything, ever. If working on a 4K timeline, people say there's a bit more DR with 12K footage vs 8K, but for most scenes, there's almost no way it's worth 2X the storage space to get it. 12K gives more ability to punch in too, but again, that's more of a special situation usage vs standard - being able to punch in 8x on a 4k timeline is really more parlor trick than frequently-used tool. Nearly everybody I've seen using the camera says that they consider it an 8K camera most of the time. I also poked at it a bit with my S35 Nanomorphs yesterday after realizing that the camera is also one of the best S35 cameras on the market, given that it has a 9K S35 mode that has the same DR/quality as the 12K modes and it supports 3:2, 16:9, 17:9, and 6:5 ratios in crop mode as well as in the FF modes. Now I just wish there were a way to get a Leica M mount on it - none of the mounts made for the camera (EF, PL, LPL) can take M mount with an adapter. I'm halfway tempted to just buy a cheap adapter for E mount to Leica M, measure the lens mount from the camera, and build myself an E mount to put on it. Or the same with RF. Especially if handing off the footage to someone else to edit, I find that it's very useful to frame things a little wider than I think is needed so that they have freedom to reframe in post. Plus on my most recent short film, there was a bunch of handheld footage and being able to punch in from the 6K master was huge. Camera op didn't track the actor perfectly while they moved? Punch in 20-30% and move the window within the frame, movement now looks much better. But again, 6K is plenty for that sort of post reframing. 12K is silly. Thanks! Now that I'm starting to get it rigged to a point where I think I won't be too annoyed using it, I'm antsy to get out and shoot!

Looks like there are some RX1R for $850-900. I'd spend the $50-100 for 36 megapixels over 24, especially with a fixed lens - but agreed that's a great deal. The only real thing I'd like to see updated vs the RX1R/RX1R II would be 4K capture. The old ones were only 1080p.

It'll be interesting to see if any of them are a new sensor design. It's been a bit since Sony announced anything interesting in the consumer space. If not a new sensor design, if they'd just put the A7 V sensor in an old RX1 body and sell it for $2,800, they'd steal a lot of Fuji's X100RF thunder. One would assume that somebody in Sony's product management team noticed at some point that their camera was just a few years too early and now the market is crazy for high-end compacts.

A lot of people are complaining about the lack of IBIS, but as a couple of others have pointed out here, a leaf shutter is a great compromise for that in what seems to have been designed as a photo-centric camera. For markets like high-end tourism, this camera seems like a real winner. It'll take fantastic photos all day long of the family and the sites seen on tours - and a 4-stop ND filter will be great for blurring water on waterfalls, etc. Lack of extremely shallow DOF is also alright for that sort of photography - people like to actually remember the places they visited, no need to just have their face in front of a blurry soup of indistinguishable background blur. For video, a 4-stop ND filter is a couple of stops shy of ideal - if the camera could do log in ISO 50, it'd be great for shooting wide open at f/4 in sunlight - (1/48 @ 16->11, 8, 5.6, 4). Not sure what the base ISO in log will be, but one of posts above seemed to imply that it's only 100 in log? If so, that's alright too - shooting at f/5.6 on a sunny day ain't too bad. Again, pretty great for those clips of family/friends on vacations. If there's a 4K 1:1 crop mode as well as the 4K full sensor width mode, that'd be great too - turn that 28mm equivalent lens into a 55mm equivalent. Would I have preferred that they make the lens 1 stop faster? Absolutely. On the other hand, this is also pretty similar to their film medium format cameras, many of which had slow lenses and were (and are) still beloved. The lens on my G617 is, IIRC, an f/8. My old GSW 690 III was an f/5.6. Am I a customer on launch day? Doubt it. Even if I were inclined, my wallet is already crying from buying the surprisingly not-much-more-expensive UC 12K. Though I did buy that lottery ticket yesterday so... maybe? Am I a customer in a year or two when these are common on the used market? I could see it.

I'd say that the video and stills quality are both so-so, but I'm not breaking out a 1" sensor point and shoot camera from 2016 if I want the highest quality (And yes, the ZV-1 was released in 2020, but as far as I can tell, it's exactly the same guts/lens as the RX100 V, but in a "vlogger" body). 😄 (That said, the quality for both is definitely in "good enough" territory!)

The community, overall, seems to really like the Canon EF 40mm f/2 pancake. I can confirm that AF works well (using Fringer) and it has really decent edge-to-edge coverage. I'm not sure, though, that it'd satisfy the 100 megapixel-peepers that the GF series tends to draw. (I say "not sure" because lenses for me fall into the categories of "too sharp," "pretty sharp," "a bit soft," and "coke bottle" - zero interest in doing in-depth lens sharpness tests)

- RX100 V / ZV1 - I almost never pick mine up, but every time I do, I end up smiling. Everything is so fast. - Mamiya 7 - Near-perfect ergonomics and usable handheld due to being a rangefinder with leaf shutters - Just about any of my large or ULF cameras - for the opposite reasons of the M7. Using a camera that needs to be set on a camera with framing and composition done on ground glass is inherently slow and meditative. - Ronin 4D, but this might be new toy syndrome - but the flex unit and gyro control with the high-bright remote are really fun

The stuff I'm selling for it will include the E2-F6, the C70, and the Zenmuse X9-6K (since I upgraded to the 8K) - as well as a bunch of accessories that I'm not using anymore. I'll be using it for short films and my upcoming first feature. I do nothing with stock footage. The appeal of it is that reviews seem to put it in a category similar to Venice and V-Raptor, but the body-only config costs $7k (plus $100 for the battery plate - and I'll get the $200 top handle and I expect to buy the $1600 media module at some point since $200/TB is actually better than high-performance CF Express cards, etc). As of right now, I expect that I'll be using 8K mode most of the time since that's already overkill. 12K... maybe for some scenic/nature stuff or for VFX?

I was going to wait for a trade-in, but I found one in stock somewhere so I ordered it and it showed up today - so my "trade in' will be more of a "sale" to the store where I sent it - or at least, a sale + trade-in toward one of the media modules since their price is actually pretty competitive in terms of TB/dollar. So far, my impressions are "wow, it's chonky," "WTF do you mean there are no Arri locating pins on the top handle screwholes," and "wow, this camera gets warm." I'm running V mount right now since I don't feel like buying a series of expensive B mount batteries. The V mount plate supports 14.8v and 26v batteries. A YouTuber confirmed that the Nanlite 14.8v-26v V mount converter works with the camera so I grabbed one of them too. Confirmed that when I plug in my normal V mounts with it that the camera lets me choose fps > 60. I expect that it'll be a thing I keep in the bag for those rare times when I might want slow motion. I didn't even try recording it (and there's almost no way my media will handle it), but I smiled for a second when I set the camera to 8kp224 (2.4:1). That's more than any of my other cameras can do... in 4k. Anyway. I need to rig it better. My first stab at it is clunky and really back-heavy since I'm using two v mounts - the one on the camera to power it and a second Tilta plate with some d-tap and usb-c ports because when I plugged them into the main battery (A Smallrig VB212), the camera started to complain that it thought the battery was low (probably because of the voltage drop from powering the focus motor, handwheel, and Pyro-S). I have dinner plans tonight and tomorrow so it's unlikely that I'll do any test shots outside of the house + yard before Thursday (and realistically, probably this weekend!), but I'm excited to get out and put the camera through its paces.

The whole time I watch it, I'm going to scream "but the rolling shutterrrrrrrrrrrrr" at my screen. What a bunch of incompetent filmmakers, using a camera which has either 16, 20, or 32ms readout speeds depending on which model and mode is being used! They ruined the whole show for everybody watching!! It's all anybody is going to be able to talk about!!! 😉

Some are a bit faster. For instance, the non-EDR 8K readout is 16ms on the R4D and it's 20 or 24 or something like that on the Panasonic. But otherwise, yeah - most of them are really close. You've been able to see a bunch of R4D footage in cinemas - including parts of Civil War. If Flight Risk is still in theaters, some parts of it were on it too. Oh, and there is apparently BTS footage that shows it being used for F1. Though I'm not sure if it was the 8K or the 6K that was used on them. RS isn't too different between them, anyway. You're likely the target market for Panasonic. There's not much with the S1R II that would inspire somebody to move to L mount, but if you're already there, I'm sure Panasonic see it as a bulwark to prevent further defection from the system. The only overheating I saw in any tests was in the most stressful modes - and after 1 hour. To me, any criticism of the overheating is basically silly. If the long interview needs to be 6K open gate and 2 hours long, then yeah, it's not the dream camera. Good. People talk lots of shit on forums, but that's all most of it is - especially me. 😅

Since we're still talking about Gerald's rolling shutter nonsense with the S1R II, it reminded me that he did a review of the R4D 8K (which, again, has either the same or a very similar sensor). Note that DJI paid him to do tests on it. Then note how his discussion of dynamic range is actually very measured, sane, and accurate and without dwelling on things. In its 8K DRE mode with 30ms rolling shutter, it's basically "this is too slow for some people and content, but for a lot of people, it'll be absolutely fine." And that review was on a camera that was made to move around and to be used handheld. He even goes on to say in the conclusion how it's a "best of both worlds option" since it gives the user a choice between great DR or low rolling shutter.

They're the same people that deny that tariffs will increase prices (they will) because it will bring manufacturing back to the US (that doesn't happen overnight) and increase competition (yes, US companies will need to be price-competitive with the cost of foreign products + tariffs which is still more expensive than what things cost before the tariffs were enacted). Those same people seem to think that the stock market taking a big shit on the announcement of tariffs has something to do with "Biden's economy."

Indeed, a number of people have looked into it and ended up with the same conclusion. Anyway, Octopus looks great! Almost makes me wish I were still a Premiere user!

My guess is that Canada and Greenland both have environmental rules that would make extraction of minerals/resources difficult, time-consuming, and expensive. On the other hand, if shithead succeeds in erasing what poor environmental laws we already have in this country, he'd give the corporations carte blanche to do as much repercussion-free damage as they want (as long as he gets a taste of the profit).

I'm not sure of the warranty, but I've bought two things from them on Black Friday (last year and the year before, they had coupons for a big discount on their already pretty-low used prices - I think like 20% or 25%). One was a C70 and the other was a Ronin-4D 6K (which I pretty quickly upgraded to the 8K). Both were great deals and showed up in exactly the condition I expected from the website description.

Nice! Now if only Resolve supported input codec plugins!

Which manual adjustability are you missing? If you install the Black Magic Camera app, you have manual control of a bunch of stuff on the iPhone. I moved from an iPhone 13 Pro to an iPhone 16 Pro. Prores in log on the 16 Pro is a whole lot nicer than any of the modes that I had available on my 13. Anyway, careful framing and lighting are completely unrelated to the camera being used. Depending on what you mean by wanting to stand out with "depth of field," the iPhone also has computational simulation for it. If the goal is primarily YouTube and the like, it's unlikely that most viewers would object to the difference between computational shallow DOF and real shallow DOF (unless you showed them side-by-side and then most people would, I think, prefer the real thing). I'm just saying - the newer iPhones are shockingly good and in addition to getting a nicer camera, you'll also have a nicer phone. 😃

As far as I know, there's no raw on the S9 - but for EDC stuff, the internal 10-bit log modes are almost certainly enough.

That's the one I used the most often with mine. Keep in mind that the drive sleds for that one use the smaller NVMe's and also be ready for them to get VERY hot when dumping footage - like I nearly burnt myself picking one up. Also, make sure to take any stickers off the SSD that you're putting in it. The tolerances are really tight and when I didn't take off a sticker, the drive wasn't working well. You can actually use the bigger drives/sleds that go with the cage version, but they will just stick out about 20-30cm under the camera.

Fuji do a pretty good job of this - I'm not sure how people are chosen, but they seed their cameras out to filmmakers to make films with them. Then Fuji releases the film on their channel and they also release a making-of video with the filmmaker talking about how the camera helped them in making the film. I'm not sure about their other cameras, but the films that have been made for the GFX 100 and GFX 100 II were really nicely done.

To go a different way, and I don't think I saw it suggested yet, why not just get a tripod mount and a decent modern iPhone? On 15/16, you can easily record nice quality ProRes/log to an external SSD (or even to CF with a USB-C to CF adapter). Combine it with a decent mic and you're set.

I'd be willing to bet that if you measure the dimensions of the camera with that plate on it, you'll be really close to an EOS R5 in terms of dimensions. Dark Power Lab has a similar bottom plate (though without the abomination that is an 90 degree offset Arca-Swiss plate) and custom SSD sleds that are really small. I spent a while trying to get the fp and fp-l to a reasonable setup for filming things. Everything had big compromises or ended up as big as the R5 (or bigger). I really wish Sigma would re-release nearly the exact same camera, but with an option for faster internal media. If they'd add 12-bit cDNG support to the bf, I'd probably go buy one. Paired with Leica M glass, it'd be a brilliant EDC.

Seems like multiple people are in favor of challenges, but thus far, nobody (me included!) is excited to actually run them. 😉

There is a lot of "it depends" in the answer to this! If we're going with "need," it probably would be a smartphone and a single higher-end mirrorless body. But if we're going for stuff I'd like to have in order to feel happy, it brings in film gear and between medium and large format, there are a bunch that I have and enjoy - from a Gundlach 8x20 down to a Mamiya 7. I don't really bother with smaller formats anymore since digital is just a lot better these days - and even 6x7-6x9 are effectively less good than the GFX 100 series so I use them more because I like the experience of shooting on film, costly though it might be. For video, my current kit (K-X, Komodo, Ronin 4D 8K, GFX 100 II, R5, C70, E2-F6, and E2-S6G) treats me well. I'll be trading in some or all of the last 3 toward an UC 12K soon, though... though I might keep the E2-S6G for car-mounted purposes, especially on dusty roads, since it's passively cooled and global shutter (the former is important for not having to clean a crapload of dust out of the camera's cooling system). But as much as I love the C70 and the F6, I'm just not taking them out enough. With the UC12K, I think it'll become my main camera. The K-X will be more or less dedicated to Fujinon MK zooms/DJI Focus for fast turn-around stuff (unless the AF performance is night and day better with the new (or some upcoming) firmware. The R4D, of course, the gimbal camera (I also ordered the Flex unit so the R4D will also be the "put the camera in strange/small places" camera). The OG Komodo is rigged up to be super light so I can use it for car stuff (on non-dusty roads!) or handheld. GFX 100 II is my stills/travel camera. R5 is a very small/light camera that is unobtrusive to use so I can bring it and shoot in places where the other cameras would draw attention.