eatstoomuchjam

Speaking as a person who needs anything over 24fps only rarely, it's great to know that I could easily do that on this camera, even using just standard CF Express cards, albeit with pretty frequent card swaps. And when needing higher speeds, increasing compression ratio is probably fine - not to mention that they're quoting open gate on that page and not 16:9 which I'd be more likely to use (looks like 17:9 crops 16:9) to crop to 2.39 for delivery (it can do scope internally too, but it's nice to have a little bit of room to shift the image up or down a bit in post, without needing a full 3:2 frame for it). Plus as long as there isn't a hit to the DR, I'd also be more likely to use it at 8K or 9K most of the time than to use it at 12K. It'll be interesting to see what people report once more of these suckers start getting into the hands of real people. Most of the tests I've seen have focused on performance in 12K mode which is understandable, but I'm really more interested in the very high dynamic range combined with very low rolling shutter. Edit: I just realized that in cined's lab test, they at least did the xyla 21 with the 4K mode as well as 12K and they were nearly identical - so the 8k/9k modes probably are too. The biggest drawback so far seems to be low light performance - but my Komodo-X is ISO invariant at 800 in raw with the camera-chosen ISO being more of a suggestion for where to distribute tones than adjusting sensor gain - and that's not been a problem at all since I got it.

The $7k version comes with a dual CF Express Type B module. That'd make its media costs no higher than most of my other current cameras. And sort of "free" since I have like 4-5T of decent CF Express B cards around. If recording to SSD is supported, even better. I have some of them too. 😉

At that point, though, why put the f/2.8 zoom on the A7CR and not... forgive me if I'm forgetting my Sony lenses a bit here, but the 35mm f/2.8 or the 55mm f/1.8? I remember that when I shot Sony, I had both and they were technically excellent (and overly clinical to match). At the time it came out, the 55/1.8 was, I think, considered the technically best 50-ish millimeter autofocus lens ever made. It'd bring the A7CR a lot closer in size to the Leica. And with the 35, it's even smaller than the Leica. I remember there was also a 28mm f/2.0 and a 24mm f/2.8 which were also pretty small/tiny, but I can't remember if I ever had/used them. Anyway, as long as the Sony has 61 megapixels, using a relatively wide lens like a 24, 28, or 35 gives plenty of resolution to crop in post (or maybe the camera supports crop modes for still images internally?). And for video, lots of clear image zoom with minimal/no loss of quality. With the S9, the zoom seems more important since 24 megapixels gives a lot less flexibility for zooming in post or using internal cropping modes. That's the Leica Q3 with a more fair comparison between the A7CR and 35/2.8 ZA and 24/2.8 G. At about $2500 for a used A7CR and $350ish for the 35/2 and $450-500ish for the 24mm, the Sony would be a pretty compelling option vs the $5500-6000ish used Leica. Though Sony shooters won't get as many groupies as Leica shooters so you'll have that working against you.

Yeah. The price is kind of crazy - adding back all the stuff that isn't included doesn't seem to equal the price difference. It seems like there must be something else going on. Battery plate - $99 PL mount - $395 Top handle - $199 Media module - $1,695 Base plate + power supply - prices not currently shown, but apparently about $5,600? Even if the normal kit included the media dock (about $2,000) it doesn't all add up.

It looks like today (or very recently, if not today), BMD announced a body-only version of the cine 12k for $7,000. This camera just became a whole lot more interesting (and I'm now thinking about what I could sell/trade in toward one). Compared with the $15k kit, it excludes the top handle, baseplate, power supply, battery plate and PL lens mount. It also omits the 8tb BMD storage device for a module with dual CF Express slots. It ships with an EF mount (which I think is just great, given how many of my lenses are EF). Suddenly, the Ursa Cine 12K just became a lot more interesting to me. I doubt that the dual CFE module can record in all (or even any?) of the 12k modes at any of the higher quality settings... but I'm even more doubtful that 12k is really that important to me (and a lot of other things about the UM12K are really interesting). https://www.blackmagicdesign.com/products/blackmagicursacine

The C70 does have some of the highest DR of any shipping camera - it's a DGO sensor. If highest dynamic range is your deciding factor, you won't find many cameras under $10k to match it. Is your project run and gun which is why you want the internal ND - for super fast changes? Some other options for "internal" ND: - Use EF or PL lenses on an RF mount camera and use a converter with swappable inline ND (such as Canon's EF-RF adapter) - If you don't need it to be on a button and just don't want to deal with front filters, look into a rear clip-in filter - they are available for many cameras and in my experience, work well.

For me, the biggest question for the Fuji compact is about the size. If the body+lens are within 5% of the size of a GFX 100S II + 50/3.5, I'll roll my eyes and not care. If, on the other hand, the size is closer to like a EOS R5 + the Canon consumer 24mm RF prime... I suddenly start to become interested, with or without IBIS. Double bonus will be if it includes the 4k full sensor video mode, 5.8k full sensor width 2.35:1 mode, and the cropped 8K mode... or even better, if it has a 4K mode that can do something like Sony's clear image zoom where I can just zoom by changing the readout window on the sensor all the way down to 1:1 pixels. Starting at 100 megapixels, that's a hell of a lot of zoom before reaching 4096x2160 (starting from a sensor that's 11648 x 8736) (I think that 4k 1:1 would be close to S35? The 8K 1:1 mode on the 100 is pretty close to FF). (I already use the 8K mode on the GFX 100 II to get a bit more telephoto in video mode - usually I prefer the 5.8k 2.35:1 mode for my stuff, but if I want a bit more reach than my lens has...)

I still say that the RX100 V is one of the most fun cameras that I ever owned - and I still have mine somewhere, as well as a ZV-1. Even though the 960 fps mode is potato-quality, the 240 fps mode wasn't bad. And even for photos, 24 fps in raw for around 5 seconds is kind of crazy in a camera that size. In theory, if one didn't need sound, one could do 5.5k raw video for very short clips using that mode. I never did that, but on the occasions when I'd use it for something fast-moving, I remember that the rapid fire tick-tick-tick while I held down the little shutter button on the tiny camera would just make me smile. Also, the built-in ND filter was so useful! It was only about 3 stops which wasn't perfect (c'mon, Sony, give us a 5 stop!), but it meant that shooting s-log video was just possible on a sunny day, albeit stopped down (I'm not home right now to check the base iso, but I think it was 640? That seems about right since I remember shooting at f/11 put highlights just in danger of blowing out). It was also kind of nice for dragging the shutter for like a waterfall or similar.

You can also do a wrap if you really wanna look cool like the kids. https://www.wrapcart.com/products/matrix-design-orange-2-camera-skins https://alphagvrd.com/collections/panasonic/products/panasonic-s5-ii-s5-ii-x-generic-camera-skin?variant=42902796959882

It's definitely improved for very short takes. While I didn't watch the whole thing, the bits I skipped around to see were all very short clips. Anyplace with letters was also a give-away (the wording on the truck). I also wonder how many "takes" they had to do of each clip to get one that looked good and where the physics were mostly realistic. I saw a few clips that seemed in the "weird physics" space - that continues to be a major weakness of AI-generated video. But the main thing that could still slow down the enshittification of everything through AI is that AI-generated material is still not able to be copyrighted - at least not in the US. How long that lasts before the shitheads in Congress/Senate/Presidency "fix" it? Unknown.

The questions are overly broad and lacking in enough detail to answer effectively. What's the crew look like? How "limited" is "limited budget?" Do you already have a set of lenses? Since phones got pretty good, how many of your goals can you accomplish with a modern iPhone? In general, focus less on the camera body - as long as you find something with no recording time limits (or long limits), nearly any camera that has been sold in the last 10 years will be more than sufficient for concert videography. If you need good autofocus, then that's certainly a consideration as well. Also, the cameras you've chosen for the "without budget constraints" option are kind of weird. Why the GH6 if on an unlimited budget? If nothing else, the GH7 exists and is, by most accounts, a far more capable camera.

Looks like it was shot about 40% on the SL2 and about 60% in Blender. 🤣

From that one, I'm known to throw out an "Ohhhh, you are sick" every so often.

Even though I couldn't say I loved (or even liked a lot) a majority of his stuff after (and somewhat including) Lost Highway, I loved that Lynch was out there doing stuff. Blue Velvet is easily one of my favorite films of all time and I still can't see anything that says Heineken without briefly thinking in my head (or saying out loud) "Fuck that shit. Pabst! Blue! Ribbon!"

I just watched the PetaPixel preview for it which was, ironically, fairly photo-focused and didn't include the Jordan section. But my jaw dropped a bit when Chris mentioned that the ES readout time is 25ms. 25ms! On a 6K $5,000+ video-focused body released in 2025! Also, the H.26whatever 6K that it records internally is only 4:2:0! What's a guy gotta' do to get some chroma subsampling around here? (Shoot ProRes, I guess, I think that's also internal). Since the Z6 III has come up a few times in this discussion already, its rolling shutter is <10ms. And sure, rolling shutter isn't the most important or only spec for a camera, but... heck, the R5 II has something like 13ms in 8K! Even knowing that Leica's luxury brand pricing is detached from reality, it seems just brazen to release a camera with specs that were pretty good 3 years ago (when the S5 II was released) at this price point! Guess they need to get some YouTubers to release a video that looks just like all their other videos and then insist that there's some special magic to the Leica image. Someone call Pooter McCubbins or Cam Mackackackacky STAT!

Yes, and it will have a much nicer body, different (and generally agreed to be better) colors, and may or may not work well with L mount lenses from other vendors (based on Andrew's recent experience). It does have a dedicated timecode input. That's nice. But if this is a preview for any sort of S1H II... 🥱

Keep in mind that you're comparing an outlier low price on a used camera (at least in the US, going rate for a used GFX 100 in good condition is closer to $3k) to MSRP on a brand new camera that many people purchase as much as a lifestyle/fashion item as they do for any other reason. Most of the people who buy an X100 VI would be better off just spending the money on the latest iPhone Pro if they don't already have it. It'll look just as good for most of their use case, give them an integrated wide angle and telephoto option, and it can use apps to post directly to their social media platforms of choice. 😅 I can also say that after years of travel and trying to fit the GFX 100 into various smaller camera bags, the size of the GFX 100 II was a major selling point for me.

Sorry if I wasn't clear! I meant that since there are rumors about Leica releasing an SL3-S (which would almost certainly have Panasonic guts, just as the SL3 does) and because there are rumors that Panasonic will be releasing two bodies soon (one of which will likely be the S1R II which puts SL3 guts in a Panasonic body), it's not out of the question that whatever is in the SL3-S will be in Panasonic's S1H II. I'd say that Panasonic sales don't meaningfully compete with Leica sales - both are niche companies and Leica is much more the "luxury" brand. However, if Panasonic release an S1H II, it will be competing with their own S5 II which is already really good (not to mention the original S1H which is also really good). The S1H, when released, was like $4k. At almost 2.5x the price of an S5 II and still more than 2x the price of the S5 IIx, an S1H II is going to have to be a hell of a camera to ship more than a few units (assuming the price stays similar).

Interesting. If the SL3-S uses a newer higher-end sensor than the S5 II, maybe the guts of it could be the foundation of an S1H II. It'd have to be a hell of an upgrade, though, to stand out from the other cameras and their own camera that was released almost 2 years ago.

Or for that matter, if Nikon would bring back the 1 series, but with an sort of modern specs/codec. If I remember right, the sensor on the 1 series was pretty close to 16mm, but even the V3 was only 1080p 8 bit H.264. If they put out one with 4k 10-bit HEVC, I'd have an EDC camera with some lovely C mount glass. 😃

Doesn't the S5 II already have decent PDAF? Would 60p or 120p full frame stand out in a big way against the competition? Would support for the XLR module peel away that many S5 II sales? Seems like it would need to be more than that - or the vast majority of potential customers for a video-centric body will just buy the cheaper one.

S1R II seems almost like a no-brainer since it seems to be accepted as fact, more or less, that Panasonic make the guts for the SL3. Just take that, improve the video stuff a bit, and stick it in something that's hopefully more like the S5 II body and less like the S1R body and sell a ton of few cameras. S1H II would involve actually doing some real work and if that's where they're going, I'd say it's pretty likely to be a combination of expensive and disappointing for people, mostly because the S5 II is really good. What are they going to add to entice people away from it for another video-centric body? Raw video? 12K? Every one sold includes a golden ticket allowing the user a tour of the Lumix factory and a personal handshake from the CEO?

One of the weirdest things with Fran was that they actually seeded at least one beta unit to a reviewer (and maybe more to others?). I won't link here since I seem to recall that Andrew is not even remotely a fan of PB, but at least they seem to have intended to build a camera enough to actually send one that apparently worked like shit to one of the better-known YouTubers.

Well, if I remember right, both think that only 144,000 people will be granted eternal salvation... but one of the two groups is trying to restore first-century Christianity and thinks that the reformation didn't go far enough and the other follows a guy who claimed to receive the words of his god on a series of golden plates that he carried around in a hat and requires its followers to buy magic underwear from the church. But from the standpoint of "I can't believe anybody buys this shit," I guess they're functionally equivalent. 😉

You might also want to have some words with the dummies at Cambridge, Merriam-Webster, and the Bank of England - as well as basically every other search result that you'll get if you google "inflation definition." You're not successful in your attempts to be technically correct against common usage. https://dictionary.cambridge.org/dictionary/english/inflation https://www.merriam-webster.com/dictionary/inflation (note that they at least partially agree with you, but indicate that it's usually do to increase in monetary supply) https://www.bankofengland.co.uk/explainers/what-is-inflation