eatstoomuchjam

Hey, hey now! No putting words in my mouth!

Unless you're Matt's doctor, though, his weight is really not your concern. If he has health problems, it's up to him to decide if he'll talk about them or not. This thread was a lot better when it was trolling people about Dave Bautista and/or Perry Farrell. Let's focus instead on his lens reviews where he does a portrait shoot with it stopped down to like f/13 which will be diffraction limited on just about any modern sensor! Or on his thing where he has to bring 43 and 250 lenses in like 43 suitcases when he goes on trips! Instead of, like, a couple of GFX 100 II bodies and a decent selection of Fujinon glass! And if he really needs extreme telephoto, swap that out for any modern 61 megapixel body and the same focal equivalents as above + extreme telephotos. Or his pockets.

I kind of like the ultra-minimalist look/design and simplicity, but the $1,999 is way too high. Sell it for half that and... maybe. If anything, this announcement makes me take another look at the S9 and the X-M5.

Depends on the editor and how "basic" you mean. On my M2 Max, Resolve does a decent job with 8K raw lite and chugs a bit with 8K raw standard from the R5, also depending on which decode thingie I choose in the raw processing tab. Canon's 8k raw standard is notoriously brutal. (Though proxies are always an option!)

I dunno, from the post from the other day, it sounds like it's not not video-centric to me... > Apple ProRes RAW HQ can be recorded internally at 5.8K at 30p on CFexpress Type B cards or an SSD hard drive connected via USB. RAW videos can even be output to external recorders in 8K via HDMI. It'd be a little weird for Panasonic to include 5.8K PRR and 8K raw over HDMI on a more photo-centric camera. Seems more like a camera that's really trying to target the Z8/Z9 and R5 series, the do-everything hybrid camera that can take high resolution photos all day and switch to professional 8K video modes with no other equipment. The GH7 is the only other Panasonic camera that I can think of which can do internal raw - and they'd call that a video flagship.

If you blinked sometime around 2002, you missed the X2. 🤣 Anyway, if they made a video-capable Foveon or they're using the same sensor as the basically-confirmed S1R II, it could be a really interesting camera. But if it can still only record 8 bit internally, an 8K sensor puts it in a category where the EOS R5 is smaller once the camera is rigged up for 12-bit recording and/or with an EVF. For me, if they released a new fp or fp-l which was exactly the same as the old one, even with the same sensor, and they enabled 12-bit internal recording at 4K, I'd grab it. Make the PDAF work as well as Panasonic and I'd RUN to grab it. I love the form factor - just would get bummed out that by the time I had it to record in the quality I wanted, it was substantially bigger than the R5 next to it which could also record 8K.

With the right monopod, it's not that hard. With something like the Cobra 3 from iFootage, it takes a fraction of a second to change height. It sounds like you have a really specific use case based on your subject matter and your preferences for how you shoot. In that use case, rolling shutter is super important to you because the combination of IBIS+OIS on your body/70-200 lens leads to wobbly jello footage. As you are seeing from this thread, not everybody shoots that way. For most people, higher RS is fine. And keep in mind that is coming from a person with 3 GS cameras (Komodo X, Komodo, and E2-S6G). GS might lead me to choose them over my other cameras, but other things might lead me to choose the Ronin 4D - and with that, I will sometimes opt for the ~30-31ms readout mode that has higher dynamic range vs the ~16ms mode with standard dynamic range. I have yet to hear a complaint from anybody when I hand over the footage. One thing to consider for your use case is the use of something like a Ready Rig or Easyrig and a heavier camera body with a shoulder pad. The footage is more inherently stable when using a heavier body and with more points of contact.

I got a similar mount from another company to suction cup the OP3 to my car (and then shortly after, Tilta announced their mini-hydra for cars, darnit!). I haven't tried it yet, but I'm champing at the bit to give it a shot in Spring/Summer and maybe get back to vlogging some of my visits to old mines (more likely, recording a bunch of footage of it and then never editing the video, like my last several expeditions). Anyway. You should probably just buy it if you see a sale. It's really very good.

If you view footage on a vectorscope, all human skin tones fall along a line between the reds and the greens (unless exposed with rgb light or whatever, this is assuming standard lighting). If they skew too far to one side, the skintones look green and sickly. If they skew too far the other way, they look pink and feverish. Too saturated and they look orange. Not saturated enough and they look pale. That's what is meant by "correct skin tones." When I was shooting Sony many years ago (like A7r -> A7s II era), I almost always had to drag them back from being too green. I hear they improved a lot shortly after I exited the system. And yes, I've shot positive film for years as well as negative film. One of the drawbacks that just about any photographer will say about positive film is that it lacks dynamic range, as you said. It's also why a majority of movies that are shot on film are shot with negative film. As to the rest, technical discussions of image quality are only useful (in a filmmaking context) if they support artistic and subjective goals. If you are an industrial technician looking for a new camera to put over a conveyor belt to detect defects in microchips as they go flying past, then by all means stick to a purely technical discussion of camera capabilities. The rest of us will be over here trying to make art with our limited skills and pseudointellectual ideas of what's important in filmmaking. 😉

I've been seeing a lot of buzz this morning that Sigma have a new product announcement coming on February 25 and that it'll be for a new fp model. This unverified teaser seems to indicate that it'll be an fp body with a Foveon sensor. https://www.l-rumors.com/fake-or-real-teaser-for-the-worlds-first-sigma-fp-camera-with-full-frame-foveon-sensor/ Full frame? Video capable? Details are scant, but maybe it'll finally be time for Foveon to go mainstream! OR, at least, a little less obscure...

First, "three single" is a silly phrase. Second, no. Any time somebody tells you "the single" or "the three most important" or whatever, they are talking straight out of their ass. I'd say that, for me, dynamic range is (often) more important than low rolling shutter. Correct skin tones is also important. Beyond that, composition, lighting, and any number of factors go into a beautiful image. Anyway, claiming that there are a small number of things that are essential to a beautiful image makes it sound like you get your information from YouTubers who post videos with names like "Cinematic footage from (insert camera here)" with slot motion footage of plants in their own backyard - and then they tell you that the secret to lighting the human face is to use reverse key lighting (can look nice, but it's one of about 100 ways to light a human face and have it look nice), etc. Lots of beautiful stuff was filmed on the 5D Mark II and that camera had, what is by modern standards, horrible rolling shutter and poor highlight rolloff.

Pity the ND is only 3 stops, though that's the same as the ZV1/RX100 V. 6 or 8 stops would be better for shooting in direct sunlight, but better an ND filter than no filter. Looks like a pretty decent compact - basically Canon made the successor to the RX100 V that Sony didn't make.

... and the focus ring? 😉 Fair enough! I must be wrong about one of them! Though don't they both use the same direction for focus? That's almost worse - if everything is reversed, it's not too hard to convince my fingers to turn backward for a bit. If only one is reversed, though, chaos will ensue!

"Near future" in cinema camera terms is probably "more than a year" if it involves changing processors. I'm talking about current capabilities of Red cameras. The autofocus is better than a CDAF body, but not even remotely usable. And judging by CVP's video with a preview of firmware 2.x, it will now probably be more usable in a subset of scenarios with existing RF mount cameras and slightly more usable than that on the Z mount models. I think CVP said something about how the camera correctly tracked a walking person in only a few of their tests. If 2.0 will be good enough for locking on a talking head and not getting distracted and drifting away to the background, at least that'll be something. It's sufficient for AF users who have a camera with useful AF. It's far less sufficient if AF doesn't work well. There are parfocal zooms that are also electronic. Anyway, having bad AF and a lens that relies on AF to hold focus while zooming sounds like a recipe for awkward times on set. Name another major brand that turns the same way as a Nikon. Canon? No. Sony? No. Panasonic? No. Fuji? No. (excludes some of their vintage photo lenses) Leica? No. Olympus? No. Zeiss? No. Pentax? Maybe? Any cinema lens I've ever tried? No. So yes, Nikon does use a different direction to turn the focus and zoom rings from every other major vendor. Just about the only time somebody makes a lens that turns in that direction these days, they make it for Nikon. So as a person who doesn't use a single system, having a single system that has an obnoxious insistence on turning the opposite direction from every other lens that I might pick up or use means, to me, that brand is wrong.

I have the Hexanon... I want to say 57/1.2? It's pretty great, but I don't use it as often as I should since it doesn't really match a lot of my other lenses.

The problem isn't that I don't know how to buy 95mm filters. It's that they're really big and clumsy to work with.

Keep in mind also that the Ronin 4D isn't only L mount. That is one of 4 or 5 mounts available for it (for mine, I have DL, E, and M mounts - with M being the one I've been using exclusively since I got it, though I'll probably get a DL lens (probably the zoom) for use mounted on my car). Maybe that also means that L mount is also available on the Inspire 3? From what I remember, it's the same gimbal/camera as the Ronin 4D.

Some are, but none that are really much better than the S1H. Ursa Cine 12K only has EF, PL, and LPL available so far.

That all sounds pretty good for a compact! Let's see where the hammer hit it. 😉

That does, indeed, look great, but also... So rather than the handful of friendly influencers that have received the camera and done minimal tests, I'll hold off on judgment until I see it working on my own cameras (or since I'm 10,000km away from them right now, until there are real user reviews after the firmware is released to the public).

As one, I'd say yes. That would be an improvement over now. I'll be delighted if Nikon are able to get AF on Red to even close to where it was on Sony/Canon 3-5 years ago. Heck, even a face-only AF mode would be just fine.

Yeah - I saw that they're releasing a firmware version 2.0 with that. It remains to be seen - they sort of pulled a Fuji a while ago by releasing some firmware that they complained improved face detection AF. Then some YouTubers tested it and declared it "fixed" or "better." Then everybody else used it and collectively agreed that it isn't usable. I'm sure those same YouTubers are really pumped now about how 2.0 will fix all the stuff they said was fixed in 1.2.5 (or whatever the version was). 😅 Anyway, control of the mount can only have so much to do with whether they can detect a face in the screen and correctly use PDAF points to focus to it, and then stick on it and not jump to other stuff or the background, etc. It might have a bit to do with smoothness of the rack or whatever, but my complaints about bad AF are much more in the category of "why the fuck did it jump to the background and stay there instead of on the face that never left the frame?" and "stop pulsing, you're not CDAF." It's hard to imagine that's the fault of the lens mount, but... I suppose we'll see! Not strictly only rumors - the Megadap guy shared a picture of one he was working on - but as you said, there's not really been anything since then. Hope springs eternal, though! At least for now, I have focus gears and DJI lidar to give AF to my M lenses. As you said, they're pretty different. I'm not likely to give up my K-X or my Komodo if I get a cine 12k - and definitely not my Ronin 4D. They all complement each other and I'd be apt to use various combinations of them on short film shoots. It's hard to say. Apparently their recent financial results were pretty bad. The big question is whether they will want to keep the extremely high margin, but smaller customer base of Red or if they'll drop the margins in the hope of higher sales. My guess is that they'll keep Red as a halo brand with high prices and dedicated cinema bodies - and that we'll see Redcode RAW on upcoming high-end Nikon-branded mirrorless bodies, as well as the SOOC colors converging between the two lineups. It's a strategy that works really well for Canon so Nikon might want to emulate it.

I never tried that one, but the range sounds nice! Just to be clear, though, with the Komodo and/or Komodo-X with their current firmware, to say they offer AF is technically true, but if you're using it for anything you care about, you're probably going to suffer heartbreak. Also, FWIW, there's a company who has announced a Leica M to Canon RF autofocus adapter. It's anybody's guess what it will cost or if it will even ship, but... hopefully soon? The last price cut really generated rage in the userbase. I suppose the question is whether they'd gain more customers through a price drop than they would lose future sales due to people angry that their $10k camera investment dropped 50% in just a few months.

I just watched the PetaPixel review. That sucker has a 95mm front thread! That's another minus when paired with a camera that has no internal ND filters - and last time I checked, nobody had any sort of clip-in inline filter for the K-X yet (or if there were any, they were expensive enough that I ignored them). Kolari have one for the OG Komodo, but it doesn't fit the X. PP didn't mentioned whether the lens was parfocal - judging by the lack of back focus adjustment lever, I'm guessing it's not completely, potentially relying on autofocus for that (which isn't ideal when shooting Red, where the AF is right on the line of usable/unusable which means you get tempted to use it and then pissed off when it doesn't work right). Also, it's focus-by-wire which, as long as it can be set to linear response in camera, is potentially OK, but it's going to piss off a lot of filmmakers. That and zoom being by wire also might actually be some slight benefit here because it might mean that one can set them to work in the correct direction, unlike nearly every other Nikon lens ever made. So basically, Komodo-X with Z mount, potentially cool. Wonder if they'll offer a retrofit service and/or do the same for OG Komodo. Komodo-X combo with this lens? Hard pass from me.

Cool that Reds will now have the most flexible lens mount on the market! I suppose that opens up a ton of Sony E mount options too since there's an adapter for E->Z. For most of the shoots I do, a 28-135 on the K-X wouldn't be ideal - but if you don't need anything wider than 37mm FF equivalent, it'll probably look great. For affordable zooms on an S35 camera, I still can't think of any that I'd rather have than the Fujinon MK's. I finally picked up a used set mid-last year (along with a kit to replace the E mount with RF) and I've been delighted! The 18-55 has barely been off my K-X since then. With A Z mount and the E mount adapter, there's no longer even a need for the RF conversion!