eatstoomuchjam

I'd continue to be cautious with those numbers, though. Given that the two cameras are only about 1/2 stop apart in 8K raw mode - which, if we're talking about an oversampled mode, is the same one (or close to the same one) that gets downscaled to 4K, higher numbers might be less indicative of a huge jump and more indicative of more aggressive noise reduction. If not, great, but rather than taking test chart results at face value, we should recognize them as a useful tool for understanding certain aspects of performance. (And if getting a lot of detail in the image isn't a goal, then the higher NR settings SOOC might be just fine anyway!)

As for DR, is it really that exciting to be 0.5 stops (SNR2) and 0 stops (SNR1) better in 4K than the Canon C70, a super 35 camera that was released in 2020? Or 0.4 stops better (SNR2) and 0.2 stops better (SNR1) than the Sony A7 IV, a camera that Sony users have been enjoying since 2021? Or 0.2 stops better (SNR2) and 0 stops better (SNR1) than the Ronin 4D 8K which was released in late 2023? Keep in mind that the DJI numbers, at least, are also raw which, presumably, doesn't have (much?) NR baked in, as any of the other cameras would when using non-raw codecs. None of that is to say that the R5 II is a bad camera! It's a really fantastic camera. It's really just to say that it's not really meaningfully ahead of several other cameras. That said, if someone offered me a free swap for my OG R5, I'd take it. 😉

Empty. Hell is other people.

I'd love a monthly "challenge" (as long as it isn't a competition) to inspire the creativity of members. Perhaps the one suggesting the theme could change monthly too, with the previous month's suggester choosing the next month's suggester along with the suggestion!

Sorry for the misunderstanding! As I mentioned in an S1R II thread, anybody who has used Ronin 4D has been practically begging for this. Just take the R4D body, rip off the gimbal and put on a fixed lens mount. Which... almost seems to be what the Lumix is. The timing is suspicious too, with it coming almost exactly 1 year after the DJI announcement (maybe the latter had a 1 year exclusive thing with Sony to buy the sensor?). Although something that might prevent them from pursuing that could very well be that a lot of the big players have been willing to collaborate with them on gimbals vs competing - so if DJI decide to compete with them on cameras, some of that good will may be lost and we'll start seeing gimbals from Sony, Canon, etc.

Not to take his job, but the tl;dr is that less than 50mm focal length has very very few entries which cover without vignetting. The wider, the fewer. Above 50mm, it increases quickly.

I'm surprised to see Komodo in there at all! It's far from the camera I'd reach for if shooting a documentary! Though I suppose not all of them are run-n-gun so maybe it was used for them.

Darnit, you beat me to my pedantic correction. You're talking in terms of standard 35mm, right? Because Fuji's medium format gear was/is fantastic - and xpan, which they made with Hasselblad (and sold on their own as the TX1/TX2) is legendary. Why rate Kodak highly? Post-1950, did they ever even make a camera worth owning? DJI. Mentioning a second time since BTM_Pix doesn't consider them relevant video-wise, but I'd say that for drone photography/videography, they're nearly the only brand these days.

I don't know if any primes for the GF system are even close to as small as Sigma's f2 range - and that includes the 50/3.5 which is, as GF lenses go, pretty tiny. It won't benefit you at all. For the sort of work you're doing, full frame is most likely the sweet spot for still photos (and maybe APS-C for video?). The A7R V is a hell of a camera and 61 megapixels is way more than enough.

If you wanted smaller/lighter and soemthing where you could just rock two bodies with a lens each and never swap, you could probably get by with the 20-35/4 and the 45-100/4 and nothing else. I have no personal experience with those lenses, though. Technically, you'd be a little above an f/2.8 FF equivalent, but not in a way that matters much (except maybe at the long end where cropping would have you closer to an f/4 equivalent).

In a lot of cases, when bigger YouTubers describe their channel as a "community," I think it's really just part of a strategy to emphasize the parasocial relationship that viewers have with them. If a long-time viewer/commenter on GU's videos was in Toronto for a work trip, would GU meet them for a beer? Doubt it. Are there GU viewer meetups in various cities where viewers all meet up for parties/hangouts? Doubt it. Are there a bunch of mostly-anonymous people commenting on his videos and sometimes he decides to care what they say? Sure. Some really nice work on there! Also, I dig the pop-up camper! I'm not sure - the more that comes out about the S1R II sensor, the more it sounds like the Ronin 4D 8K sensor - just with the weird anomaly about readout speed in 8K FF non-EDR mode (24 vs 16ms). If so, the sensor is less "worse" than the R5 and more "just different." My Ronin in 8K standard mode is a bit better than the R5 in low light and in EDR mode, it's substantially better. I don't have an A7S III (or FX3 or other camera with similar sensor) to compare to it, but at least a few reviewers have said it's equal or better (but 8K). Anyway, assuming that it's the same sensor (or variant thereof), it's also more than a year old. Once the dust dies down from the internet's outrage about rolling shutter, if it's the same or similar to the R4D 8K, I think that users are going to fall in love with the image. People love it so much on the Ronin that they do silly things like turn off the gimbal and add rods to hold the lens steady so that they can use big heavy lenses with it. Those people might also end up loving the S1R II as as a less silly way to use big lenses without turning their R4D into an R0D.

My assumption is that it'll come out at around $12-15k. I would really love to be wrong and have it come out closer to $8k. IMO, you're on the right track. The 100II is hands-down the best camera I've ever owned/seen for still photos. That's subjective, of course, and someone who shoots sports would almost certainly disagree. It's not much better than the GFX 100 was, of course, but with the II, I feel like the video went from a sort of neat, but very limited bonus to something that's genuinely usable. Would I spend more to lose the ergonomics for stills (hopefully not the ability to take them at all) for about the same performance, a couple more modes (such as open gate full sensor), and professional I/O? Absolutely not - especially if adding a cineback/rig/whatever gets me some of the most important i/o upgrades.

Nice! Not sure where in Minnesota you are, but assuming you're near MSP, do you ever do Z-Fest, 50 Fifty, or any of the other local short film contests? Would be cool to see what you're shooting with 'em. I'd still say that unless the Eterna is priced pretty similarly to the GFX 100 II, they're going to have a real battle for sales vs Ursa Cine 17K, especially if BM release a body-only version similar to what they've done with the UC 12K.

I only see two posts and the account has only two followers. Is it right? You mentioned 10k followers later in the post so I'm assuming that either it was posted incorrectly or my copy/paste skills have decayed.

I watched the video and it was, as I expected, a lot of him whining about things where he was accurately called out. He made some wishy-washy comments about how he talked about the RS early and often because of this and that, but I'd be willing to bet that if I had the attention span to go back and rewatch his video on any Sony camera with high RS (at least equal to the S1R II, and probably in 4K because... Sony), it'd probably be mentioned only briefly and about 3/4 the way through an otherwise glowing video. He also threw in digs about overheating which is completely nonsensical, but he said would be a deal-breaker for him. Fair enough, of course, but overheating after more than 1 hour in the camera's most taxing mode and not at all in most modes is just not a big thing for most people. Poor battery life? Sure, that's somewhat valid, but easily solved by... buying a couple more batteries or just plugging the damn thing in, either to mains or a v-mount... or to a USB PD power bank for that matter. He also completely misrepresents the comments people make about him not being a filmmaker. It's totally fine for him to make an objective video where he talks about the specs of a camera. One doesn't have to be a filmmaker for that. On the other hand, the attention he pays to minutia and how much he harps on various things that are not that important to a filmmaker are relevant to the discussion. Any of his preferences/suggestions come from the point of view of a person who leaves a studio permanently set up and, for the most part, stands by a desk and talks into a stationary camera. I'm not a wedding videographer and as such, if someone came to me asking for the best gear to use if they wanted to get into it, I'd probably refer them to MrSMW and/or some local friends who do that instead of posing as the expert. I'm not a commercial filmmaker either - so if someone wanted advice on the best stuff for corporate talking heads videos and the current fashion trends related to it, I'd send them off to a friend who does that stuff. Even for the things I do shoot, if people ask me for info on the camera to buy, the answers have a lot of "well, it depends," "opinions vary," and "basically every mirrorless or cine camera released in the last 5 years will probably work just fine for you." After all... they're all pretty damn good now. If only that guy had released the Fran, I could have at least one camera to tell people not to buy. Maybe the Bosma 8K sucks? I remember seeing that it's actually for sale in some places, but I've never heard of anybody actually using one.

Like I said the other day, this is a lot like his response to the Z Cam review where he complained throughout the whole thing about a file corruption problem that only happened if you ripped out the battery while recording (and was fixable by sending the file to Z Cam for repair). A bunch of people correctly and politely told him that it really wasn't a big deal and he made a follow-up video whining that people felt attacked and tribal. Almost nobody felt "attacked" - we just thought his review was stupid and got irritated that every dimwit who had never touched a Z Cam and got information from him would start complaining about file corruption if recording during power loss literally every time you mentioned the camera anywhere. I don't have the patience to go re-watch his original review to see how many times he complained about rolling shutter on the S1R II, but I bet it's the same sort of thing. Now every time anybody anywhere brings up the camera, there will be an army of his followers "but what about the rollllliinnnnngngggg shuuttttterrrrsssss??? go watch GURRAALLLDDDDD" Meanwhile, yeah, 32ms rolling shutter is pretty bad. I have it on my GFX 100 II in 8K mode and yeah, if something is moving horizontally through the frame at almost any speed, you will probably see it a little bit. Solution? Don't use that mode in those cases. Works fine for plenty of other stuff. Something's moving horizontally? Better to just use the 4K mode that has like a 15-17ms readout. Anybody with the S1R II will probably end up doing the same thing. Seeing too many artifacts in the slow readout mode with horizontal movement? Better to use a different mode for those scenes, then. Ideal? Nope. A major problem? Big nope. Worth alleging some inclination to be negative because Jerry didn't get his free trip to the S9 event? Yuuup. Guess I'll go watch Gerald's dumb video now because apparently I like drama more than watching balanced reviews.

Cool that it'll have it and cooler yet that the Mercury lenses cover it - though at $8k per, that combo would be well out of my budget. 😅 It's a lot more than my little brain can store when I'm out and about. I mostly just have C dial settings for the modes I'm apt to use (C1 = 4Kp23.98, C2 = 4Kp60, C3 = 5.8kp23. C4 = 98,8k23.98, etc).

DJI do make cameras, they don't just try. The Osmo Pocket 3 is, from what I've heard, one of the most popular cameras on the planet these days. The Ronin 4D is also pretty excellent and the "chicken head" camera is becoming a staple on productions, both from low budget scrubs like me to Hollywood films that will play in theaters nationwide.

That was my thinking in September of last year. I picked up one of these: https://www.amazon.com/dp/B09PN5RR9D?ref_=ppx_hzsearch_conn_dt_b_fed_asin_title_1&th=1 Good, solid cart - the little extend-o-platform on the bottom makes it great for tripods and light stands and the enclosed top is great for throwing in a bunch of cameras/bags. The big sturdy tires are nice for things like rolling over rough terrain/curbs/etc.

Whatever the personal preference on the shots, part of the question for me would be whether that's a capture-time decision or a decision to be made in the edit/color grade. I tend to favor the latter. Best to capture a flexible "negative" that can be manipulated after the fact. As an example, I recently shot and then colored a short film with someone else doing the editing. The editor complained after my first color pass that it was too contrasty and dark. The scene is a tense scene in a hallway with a man in military gear guarding the rear while his comrades rush off. The light in the hallway is flickering and supposed to be faulty. For me, bringing the levels down and crushing the shadows (and yes, losing detail!) was absolutely the right call. The darkness and contrast help to convey the tense feeling of the scene... and flickering lights tend not to be strong! Anyway, thankfully the director/producer liked the darkness so we went with it... but the washed-out look seems really fashionable these days (and I'm not all that here for it).

Well, it ain’t a Sony and it ain’t a Canon, that’s for sure. I find it generally usable, though. It’s better on the 32-64 and the 110 than on the 63. The focus motor in the 63 isn’t as good. None that I’m aware of, but there are an awful lot of menu options and the list of recording modes and their associated crop levels is S1R II-level confusing. Not silly at all! So not silly, in fact, that there’s a dedicated 4.6k anamorphic mode which I have barely used. If I remember right, it’s at a crop vaguely similar to full frame. Rolling shutter is really slow from what I remember, comparable to the 8K mode. One thing that is cool, though, and I don’t think I’ve seen it on any other camera, is that if you are using a 2x adapter (and maybe others?) you can set the recording modes so that it’s desqueezed in camera (not just for display). If the Eterna has open gate support, perhaps Fuji will add desqueeze options for it too - though I have no idea what anamorphic combos (that mere mortals can afford) are going to cover 44x33mm.

I was wrong before - according to cined, it’s about 15ms with DRO off and closer to 26ms with it on. That ain’t bad. That IS in 4K mode, though. In 5.8k mode, it’s still alright at about 26ms. It’s in 8K mode where it falls down to about 32ms. Also, smaller than FF crop. Though the smaller than FF crop can be a superpower. I’m on vacation at the moment and have my GFX 100 II and I only brought the 32-64/4, the 110/2, and the 63/2.8 (my travel light kit). The 32-64 is on the camera most of the time. Usually I just film in one of the 4K modes or the 5.8K mode, but when I want more reach, I just jump to 8K and know I also have the bonus that I can zoom 4x and still have original quality 4K. But anyway, that’s not so important to the conversation. Before making any plans to buy the Eterna when it ships, I’d wait for clearer ideas of what, specifically, it will support and what the cost will be. The Ursa Cine 17K is also ostensibly coming and also with a medium format sensor - and if it’s the same sensor as the 12K, but bigger, it will probably be well worth a look vs Eterna. And if there’s a body-only sku for half price like there is with the 12K, that might also be rough for Fujifilm sales. 15ms with mediocre DR isn’t too bad, but assuming 2x the pixels = 50% the readout speed, 15ms readout for 17K with DR similar to V-Raptor and Burano? Eterna’s going to have some heavy lifting to do. Though I suppose if there’s goal is 4:3 ratio, it’ll probably be better - I think UC 17K is going to be a wider format sensor rather than scaled in all directions from the 16:9 or 17:9 sensor in UC 12K. Anyway. It’s an exciting time gear-wise.

With standard DR, it’s fine - I think around 16ms. With extended DR which gives about another stop, it’s quite slow, probably around 30ms.

I agree - even a small dick would put Elon Musk to shame.

I think this is a valid statement for more than just MPB!