eatstoomuchjam

Con el nombre "besos señorita," posible habla español. Estas una persona o un un robot, señorita?? Diga nos la verdad, por favor!

If so, I propose we call that move "the reverse Fuji," given that the GFX 100 II (and moreso, the 100s II) is a medium format camera in a somewhat large full frame body (the S II is smaller than a Z8 by about 5% and the 100II is smaller than a Z9 by about 15%, though the latter isn't a totally fair comparison since the Z9 has an integrated vertical grip).

In that case, one of the greatest cameras ever made for low-light photography was the Kodak K-24 aerial reconnaissance camera which was used by the US in WW2. Its "Aero Ektar" 178mm f/2.5 lens was ideal for low-light photography with the films that existed at the time. You're welcome, robot.

Are you really basing your evaluation of 29.97 fps on having captured using an interlaced format?

To reiterate what the others said above, an FX3 is a good place to start for low light and you should still bring some lights. You could start with a set of Aputure MC's (or any of the dozens of similar/less expensive third party ones) and fill in more lights as you find the limitations of that setup. A few cheap collapsible reflectors can also work wonders.

That was true in the past. DSMC3 doesn't seem to have swappable OLPF anymore. I'm guessing that most people didn't change them often or at all. Accurate.

Those are, indeed, some really ancient versions of things. The good news could be that there are probably known vulnerabilities/exploits in software that is so old. If there are any services (web server, etc) listening on there, the camera might be hackable.

Capture resolution is only a single factor of the perceived sharpness/softness of the final image. Take that Black Magic camera with a 12k full frame sensor that was announced a few months ago. Put on an f/1 Noctilux and shoot wide open. I can all but promise you won't be complaining about too much sharpness throughout the image. 😃 On top of that, Red's image (at least in raw, I haven't done much ProRes to check it) is generally a bit less sharpened than you'll find on many mirrorless cameras if used with the same lens. I'd expect that it's mostly the OLPF, but it's also difficult to know what kind of filters are applied by the ISP on mirrorless cameras, even for what is presented as "raw" video.

They didn't open source the firmware. They are following the legal obligations associated with the licenses of open source modules that they used. https://leicarumors.com/2024/07/23/the-new-leica-d-lux-8-camera-is-open-source-code-available-for-download-on-leicas-website.aspx/

But great news if you want a big built-in screen and minimal physical buttons... the camera already exists and is fairly affordable, especially when on sale. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera

Cost and power consumption are definitely concerns. Losing physical buttons and the dial is also not taking a step forward IMO.

No first-party accessory. From what I remember, they always just tell people to go buy the Tascam CA-XLR2d-C. That always seemed to me like a smart move on Canon's part - don't invest R&D time into making a niche audio accessory, but just partner with an actual audio company to have them make one. For Tascam, it also makes more sense to build it since they can build the same accessory for multiple cameras which gives more opportunity for sales, even for a relatively niche product.

As to the question of "how" it will work, I saw earlier that the vents are on the bottom of the camera body and on one of the sides. One would assume that the grip has holes that mate with the holes on the bottom of the camera and the fan accelerates air flow through the camera and over the sensor. This would also explain why it doesn't help a lot in the most demanding modes - it's a pretty clunky way get air over the relevant components. It still doesn't seem like a cause for the rage that sometimes accompanies recording limits, though. Being able to roll 37 minutes of 8kp30 without a fan and 120+ minutes with one is pretty alright. 4kp60 says 120+ minutes as well without a fan. Seems like a fine mode for long-form interviews, concerts, etc. If you need to run 8kp60 raw or 4kp120 takes for more than 20 minutes or so, Canon will be glad to let you know that you should choose a different camera for that - like their very own R5C which has a much better cooling system and is available on the used market for more than $1,000 less than this camera. 😅

Missed this before. This recommendation varies across manufacturers. With Z-Cam, failing to ETTR makes for crazy noisy shadows. Red, on the other hand, strongly recommend against ETTR. People who are accustomed to Red used to show up in the Z Cam group all the time complaining about noisy shadows. Probably the only reason that they don't these days is that just about any Red shooter who was likely to buy an E2-F6 or E2-S6 probably already did. Can't fault Z Cam for the longevity of their cameras, though it would be nice to see some new models ship. Anyway, it's one of the biggest challenges/learning curves for me with the K-X after a bunch of others - figuring out how much to darken my exposure vs Canon/Sony/Z-Cam/Fuji.

The C70 is just great. People are going to be shooting with 'em for years to come... basically until all the screens break off. And then someone will offer a repair/third-party replacement and people will start using them again. I just wish they'd make a FF version of it so I could get the full FOV of my M-mount lenses (since M mount speed boosters are both impossible and also a terrible idea because of how many M mount lenses have protruding rear elements). Anyway. Fingers crossed that the DR will improve. It'd be nice to light for the C70 and then not have to realize that the B camera somehow has both blown-out highlights and crushed shadows. 😅

At what noise level? CineD already could perceive 16.8 stops on a Xyla 21 with the R5 in 8K raw mode, but at SNR=2, only 10.3 were evident. If I'm guessing, the new one will be close to the same on Xyla 21, but with more usable stops in the shadows. I'd be willing to bet a quarter that new measurements show somewhere between 11 and 12.5, but I'd be delighted to be wrong and have it be more than that. Better shadows would be great - I'd love to have an R5 that's less sensitive to underexposure. For a recent short film, the b camera operator wasn't as familiar with the camera and underexposed a few clips. I had to denoise just about all of the detail right out of 'em so that they'd play with the other stuff.

Discussed a bit already in this thread. They're calling it "sraw." I suspect that it's downsampling the full sensor readout and storing the data in a 12-bit raw-like format. It's probably not actually raw, but works like it for any of the stuff people care about.

I've seen/heard a few mentions that video dynamic range on the R5 II is better than the original. I'll be curious about how much since the original's was mediocre at best. Otherwise, stacked sensor w/ less RS sounds great. Waveform monitor is nice (and hopefully people will browbeat Canon into making it movable/resizable since the current location/size is... bad). For my uses, I couldn't care less about whether 8K can go to 60 fps now (especially since I suspect it require the fan grip, even when running/stopping on set). I'm also curious about just how hot the body gets in high temperature mode without the fan. That's a small body and 8Kp60 I'm maybe more excited about Canon's "SRAW" option which can do full sensor-width 4K in a raw-like container- especially if that adds a little more DR due to downsampling. Could make for easier editing next to my C70. Overall, the R5 II looks pretty solid. I'll look forward to seeing the feedback after it gets in the hands of real users - and to probably trading in my OG R5 to get one as soon as the first wave of used bodies hit the stores. 😃

Yes. I think they mean that out of the box, ISO goes to 51200, but there's a setting where you can ask it to allow 102400.

I've never personally used a Leitz cine lens, but I have a number of their rangefinder lenses. If the cine lenses look as good as the rangefinder lenses, I'd never ask why somebody chose them. 😉

My rechargeable batteries most definitely don't have the same lifespan as they had when new, but at the time when they were new, they still didn't power the recorder for more than about 2-3 hours or so with phantom power to the mic. Alkaline last a bit longer than they did when new, but not by a huge amount. It's irrelevant now anyway. D-Tap for life. 😅 Sure, I've seen some NiMH chargers that claim charge times of an hour or less (vs around 4 hours for any of the chargers I have), but whenever I see them, I wonder how much that's compromising the charge cycles for the battery. Meanwhile, I can just run the thing for just about half the day from a medium-sized V-mount. Don't tell me! Tell them! I was just an innocent bystander with a v-mount-powered camera. 🤣

At this point, all of my rechargeables are older and I don't have any black Eneloops. But at this point, I have external power so as you said, the internals are only to avoid having to shut down if swapping the v mount. Every time I used mine on a shoot, whether using alkaline or rechargeables, I seemed to get about 2-3 hours on a set of 8. It might have been less annoying if rechargeable AA's didn't take so long to recharge. 😅 For a sound engineer, yes! But on shoot last year, the field sound person was in film school and brought their school's kit. Part of the kit was a briefcase full of alkaline batteries. It made me awfully sad thinking of how much waste their students generate! 😬

Battery life can be impacted by settings, keep in mind. If you don't need phantom power, you could be getting up to 2x the battery life of someone who does need it. On a fresh set of 8 AA batteries, the F4 is estimated to get 4-6 hours. However, turn on phantom power? 2-3 hours. That's why I power mine from V-mount. I haven't noticed a hum on the F4 yet when doing that - would be a surprise since the d-tap is going directly into the DC power in port, just like it would be when using the wall adapter. The F3 could be a whole different thing, of course. Though Zoom do advertise power by USB as one of its features.

Is the F3 better with batteries than a lot of other Zooms? My old F4 will go through multiple packs with like 8 AA's in a day of shooting. Now I just power it from a V-mount that's clipped to its shoulder pouch thing.

Looks like you can remove the rods based on what I can see from skipping around this video.