eatstoomuchjam

I didn't watch the presentation yet so sorry if this is a dumb question that I'll answer as soon as I've actually watched it later - So the S5D is the S5 (not the S5 II), but with some sort of integration with the DJI Lidar sensor that allows it to use the autofocus motor instead of DJI's focus gear? But since it's not the S5 II, no PDAF if you don't put on the DJI sensor? Which, to be clear, the DJI Lidar unit costs $600 on its own without the handle or focus motor ($999 for the "Creator combo" which includes all 3 and some cables and mounting hardware). Who is the target market? I get that they must have a bunch of S5 in their warehouse that they want to move, but... who wants this over PDAF in the S5 II?

Keep in mind that those numbers are for "cameras" and not for MILC. Like I've heard that the Canon V10 is is weirdly popular in some regions. What's less clear is whether that's all digital or not - I've heard that Instax sells crazy well, but I've not heard numbers associated with that.

What heresy - I can tell in both of those images that there are cupboards just a few feet behind him and he's in a kitchen! Any proper image with Toneh should be at f/0.95 and I shouldn't be able to tell if he's in a kitchen, at a lake, or mountaineering!

He just regurgitates the same rumors as are on a bunch of websites.

How dare you defame Toneh the great and Bokehfied? If he ever hears of it, he will cast a spell on you so that from here forward, every shot you take will have deep depth of field! 😆

I'm still very much of the opinion that at least some of the leaks come from the marketing departments at the camera companies. What better way to build hype for an upcoming release than to trickle out information? And what better way to gauge the reaction to upcoming new features than to watch the responses to those rumors? People are excited about something? Focus on it a lot more in your release announcement.

5.8k is full sensor width 2.35:1. I like to present in scope anyway so it's kind of perfect for me. It's also great for lenses which almost, but don't quite cover. 44x33. As far as manual focus FF lenses, I don't mind falloff much, but a hard vignette isn't great for me - and that's also where IBIS gets a bit problematic. When using lenses that just barely cover, sometimes IBIS means you'll have a weird cutoff near the edge of the frame since the sensor moved out of the image circle. The Minolta 58/1.4 that I mentioned above is one of the widest lenses that actually covers the full sensor and where I don't seem to get IBIS artifacts. I never really use it, aside from cropping the full sensor size image to panoramic/xpan, there's also the option to just use the ff mode which is still IIRC a 61-ish megapixel image. I've never had the Fringer AF adapter, but my Steelsring adapter has supported PDAF for years now - and I think my Techart might support it too (though Steelsring has been great). I don't know that Fringer's adapter was out when I bought them. I also have a Fotodiox VND adapter, but I don't think it supports PDAF. Autofocus in video mode is mediocre by modern standards. It's improved over the original, at least, but seems consistent with what people say about AF on the X-H2S and the similar. Fuji announced a firmware update the other day which seems mostly focused on improving continuous AF in video mode - supposed to come in November. I won't cry if it gets a bit closer to Canon/Sony reliability.

Completely off-topic, but that's my fault. I read the comments about fixed lens cameras and forgot it was a Panasonic thread. The dangers of reading a forum first thing in the morning! The extended DR mode 4k mode does have noticeably more DR. Unless something's moving pretty fast, I'll use it every time over the faster readout modes. Otherwise, I really like the 5.8k mode - I tend to like a wider aspect ratio. My favorite thing about the 8k mode, ironically, is that it's cropped (and I can still crop in more from there). It means that the 32-64/~26-52ish in FF terms now goes up to around 72mm in FF terms and for 4k output, around 140mm. I've been meaning to play with the Nanomorphs in 8K mode since at least some of them will probably cover it. For me, the biggest step up vs the OG is that it's a lot smaller. I left the OG behind on a number of trips because I would have needed a bigger bag. Even though I like it, unless there were a really specific reason to bring it, if going on set, I'd pick up the K-X (and soon the OG Komodo too unless that ebay seller sends me a box of bricks) or the C70 any day. The GFX still feels pretty clunky in comparison. But for travel/personal stuff, I'll grab it just about every time. It's by far the best hybrid camera I've ever touched. For my upcoming trip to Peru, I'm bringing it with the 32-64 and 23. If I weren't trying to travel really light, I'd bring the 110. The trip make my usual travel kit (sometimes with the 63/2.8 or a Minolta 58/1.4 to use at night). I find myself more apt to leave telephotos home, at least partly because I can crop a lot and still have something that would easily print to 8x10. I'm also bringing an Osmo Pocket 3 since I'll feel a lot less paranoid about leaving it propped up on something to film myself and my travel companion than I would the Fuji.

My GFX 100 II already records 8K. It's with a heavy crop and with unimpressive RS, but it's 8K at least.

Sure, it could be that too. I guess it depends on whether bulk 50MP sensors are available in big quantities and for a price that is competitive with modern FF sensors. I'd love a 100mp fixed lens medium format camera - and I can say from personal experience that Fuji has a long history of excellent fixed lens MF cameras. I guess the bigger question is whether people would be willing to drop $5k on one - and which lens they'd pair with it to keep it "small." I guess they could do the 50/3.5 - as far as I know, that's the smallest native lens for GFX and it's a decent sharp modern lens.

The latest posts from the Dolomites haver been saying that Fuji is working on a new camera with a sensor size that they never used before. My guess is, based on the success of the X100VI, they're building a full frame fixed lens camera. Fixed lens means they don't need to build out an entire ecosystem of lenses like they would if they introduced a new FF MILC line.

I think that, as with many things, the only rule is to choose what tells the story best without resorting to dogma. Hitchcock was also, situationally, a fan of opening with the wide establishing shot and then bringing the shots closer and closer to the subject.

Bogdanovich and Fuller were also against the establishing shot for the sake of establishing the shot. If I remember right, Hitchcock preferred to end with the establishing shot since he felt it had more dramatic effect (and I would be the last person to argue with Mr. Hitchcock about what has dramatic effect).

Honestly, if it were redesigned and a lot smaller (or were integrated with the filter adapter somehow), I'd consider a cooling fan if I wanted to do long takes. Right now, the filter and CFE adapter add fairly minimal extra space (could maybe get even a little smaller by adding one of the smaller magsafe SSD's or by supergluing a Sabrent Nano to my filter holder, but I prefer to have swappable media). Anyway, for me, it's about keeping the setup as small/light as possible. I sort of wish somebody would make a case with a filter turret or sliding filter or something since the ND filter is the only thing I really need in the moment.

If owning 3 Ninja V's counts, I'm an Atomos customer. I still have them because the resale value isn't great - though I should just get a quote from MPB to see about swapping them all out for a Video Assist 12G. At this point, it's hard to imagine Atomos releasing a product that I would buy, both because the CEO is fucking awful and for the other reasons I outlined abovef.

It wouldn't really be fair to compare the telephoto lens on an iPhone to the pocket 3 since the pocket 3 has no similar telephoto lens. Between the standard lens on a modern iPhone and the pocket 3, I'd be willing to bet that the differences won't be enough to matter a lot.

They're all pretty bad/cringeworthy now, but sure - here's one where you can see me confused by the Osmo Raw. Apparently airflow matters a lot. While it ran for about 13 minutes the other day and merely felt warm to the touch, I set it up by the window of my house today. The house is about 25C inside, but there's no breeze like there was by the river aside from it being a bit warmer. After 12:10 of recording ProRes 120p, the BlackMagic app stopped recording due to high temperature. When I picked up the phone, it was uncomfortably hot and so was the CF adapter. So rolling long takes at indoor concerts doesn't seem like it'll be a thing!

It's also not really a new thing that Leica partner with a consumer brand for cameras and even some lenses. https://forum.mflenses.com/the-leica-minolta-collaboration-t77452.html The Leica R3 and R4 were basically Minolta bodies with a different mount. And a number of Leica R lenses were also Minolta rebrands (mostly zooms, but the 24/2.8 R lens was one too, as was the 15mm fisheye). At least one R lens was even made by Sigma - and that's not Sigma of 2024, but Sigma of before 1995. Imagine paying Leica prices for a 28-70mm zoom lens only to learn later that you'd just bought a Sigma.

As far as I could see by searching sold items on ebay, the current going price is about $4,600 for a 2TB model that works or $1,900 for a 2TB model that doesn't work. There's also a more recent sale that was a $7,700 for one with 1TB, but it was apparently recently serviced by Rubenstein which included battery replacement - and that one also included a Zacuto EVF, PL mount adapter, gold mount adapter, and 3 Zeiss Tevidons. So it seems like it's probably $4000ish for an unserviced camera - but it'll be on the market for a while before an enthusiast picks it up. If I saw one in working condition for $2k, I'd probably jump on it, but I'd also be pretty sure it was a scam. At $4k, the camera is competing with stuff like used Komodos and C70's which... is a little crazy. I'm also expecting Komodo prices to start dropping more soon as the ones with buy-it-now at $4k+ are not moving and those selling for auction are going for between $3-4k. A lot of sellers still seem to be in denial about the recent price cuts.

Sure - one thing that might be nice in terms of not missing the moment is that now you can raise the phone and push a button and it will instantly load a photo/video app which is faster than it used to be. But if you're worried about missing a moment, no amount of speed improvement will help. A lot of people prefer a bigger phone! If I could, I'd take an even smaller phone. If they put the 16 Pro guts in a 16 body, I'd probably take that instead. The ideal would be a Zoolander-sized smartphone (maybe it could have a projector for the screen). 😀 You can turn down the screen brightness a lot if heat genearted by the screen is a concern. I meant to try it the other time, but my attention span isn't so long. It's the same thing that I realized during the brief time when I considered becoming a YouTube camera reviewer. Maybe I'll try again today. I could point it out the window or something and leave it while I work.

Why limit yourself to cinema lenses? Now you can also use this cage to make sure your phone is powered by v mount and has an external screen and shotgun mic! You can finally realize the dream of having a cinema camera in your pocket... just as long as you don't mind a heavy backpack full of accessories. https://petapixel.com/2024/09/26/moments-smartphone-supercage-has-integrated-power-mic-headphone-jacks-and-more/

The idea that the R1 is a camera that some people might choose instead of the C80 is not offensive. However, your continuous bombarding of this thread with test charts and graphs to demand that it's a better choice than the C80, once again despite that you have touched neither camera is not necessary. If the R1 is noticeably better than the C80 in real-world usage once both cameras have been released, Canon will sell more R1's than they would otherwise. I'd certainly consider it once it's available on the used market or there's a big sale, just as I am considering the C80 now (but no way I'm paying full price). Regardless, neither camera is "better" than the other - but one might be a better fit for you. If it is, that's great. You should get that camera. If you plan to buy/use neither camera, then you should stop caring about which one is "better."

For almost any other camera, I'd suggest that you should post some details about the camera, etc - but in this case, I think it's perfectly valid to just yell the price. 🤣

Great. So since we agree that most of the discussion is useless until the cameras are released and in the hands of real users, you can stop the lengthy rants and pasting screenshots from YouTube and reviewer websites and demanding that one camera (that you have never actually touched) is better than another camera (that you have never actually touched).

Other than gt3rs' actual real-world experience with the R5 II, this is all nonsense anyway. It is based entirely on pixel peeping crap from internet reviewers. I'll stick with "if you love the R1 so very much, you should get in the preorder line and enjoy shooting it when it's released." Otherwise, beyond some chat about specs, it's really worth waiting for the camera to get into the hands of real users. Then the truth will be understood. As for me, I'm going to guess that we'll see a lot more owner-operators and documentary crews running around with C80's and C400's than we will see them using R1's. The R1 will likely be a niche camera, used primarily by sports photographers.