TomTheDP

Thanks for the compliments everyone! Means a lot from people on this forum as I know we are all pretty picky when it comes to this stuff. 😂😄 For the Z-cam I used a set of Rokinons 24, 34, 50, and 85 Everything on the Panasonic was shot on a Rokinon 35mm 1.8 We also used a Sigma 14-24 2.8 for a few interior wide shots where we need that ultra wide FOV. I have a set of Canon FD lenses which I would have used had I owned them last year. The Rokinons do the job though. I really love Minolta lenses though they can't be adapted to EF so only some cameras can use them. I'll do a little breakdown for you if I can remember perfectly. 0:05 Rokinon 35mm 1.4 0:12 Rokinon 85mm 1.4 0:15 Rokinon 50mm 1.4 0:18 Rokinon 50mm 1.4 (1.8 crop in post) 0:19 Rokinon 50mm 1.4 0:22 Rokinon 35mm 1.4 0:31-0:47 Minolta 35mm 1.8 (shot mostly wide open) 0:50 Mavic 2 pro 0:53-1:03 Minolta 35mm 1.8 0:52 Rokinon 24mm 1.4 1:06-1:20 Rokinon 35mm 1.4 well you get the idea at this point

I’m pretty sure the exact sensor had been posted on here by @androidladbefore. I’m just too lazy to dig through a million threads right now

@Sage any progress with the Z-cam?

I’ve seen several comparisons. Seems to maybe give a small increase in the highlights. Maybe half a stop at best. Both clog1 and 3 are losing you shadow detail. The dynamic range increase in RAW is mostly in the shadows, and they are very noisy. Overall the R5 dynamic range is just not very good.

Panasonic, Nikon, Fuji, Z-cam, and Blackmagic all use Sony sensors. Canon is really the only company not using them right now. Blackmagic's Ursa sensors aren't Sony either and neither were their older cameras which were all Fairchild. This isn't information Panasonic tells people. @androidlad could give you more exact information on this type of stuff

Shot mostly on the Zcam S6 with some Panasonic S1 in there too. I feel like the trailer was harder to make than the actual film. 😅

How’s the latency when shooting Prores to a ninja V?

The Lumix S line uses Sony sensors. Panasonic's processing is way better though.

Considering the R5 now with CLOG3. Some of the fan mods looks doable

I shoot backlit a lot with no issues, the S1 has amazing latitude. I personally owned the Ursa 4.6k and didn’t really see the hype with the dual gain. I can say with a lot of practical shooting experience that I rarely have issues with dynamic range. Not having 4000 iso would cause a lot of issues though. The types of shots where the S1 (insert Sony sensor here) fails is inside if you have a bright window and very little bounced or ambient light. That’s when you use lights or just let it blow out, which I sometimes do for stylistic reasons.

Interesting, the film still looks so nice in the highlights though I am sure the Pocket could as well with different grading. I am gonna take a photo with the S1 to see how it does today, I'll throw it up here. That is if we get any sun here lol.

I think the A7S sensor has comparable dynamic range to the A73 /A7r3. In terms of Sony and RED their full frame sensors have the most dynamic range. The RED monstro is 8k and has the most dynamic range though the Gemini has similar dynamic range and only 12mp vs 35mp on the Monstro. Arri dynamic range is the same regardless of sensor size or resolution. The URSA 12k and 4.6k have similar dynamic range, though the 4.6k is dual output while the 12k isn’t as far as I know.

DSLRs didn’t have to deal with rolling shutter in photos though.

Internal audio is never going to match a mixpre. Practically once you mix it and apply noise reduction it’s all fine. The A73 auto focus is amazing with Sony lenses. One of the best in the market still. I’d also recommend the C200. You get 4K up to 60fps in a good 8 bit codec with wonderful canon color. It also has good AF, native EF mount, internal NDs, XLRs, SDI. You can record BRAW externally or prores RAW as well as Canon RAW lite internally.

Lowlight and dynamic range have been improving though. Sony’s full frame and dual iso sensors are doing well on both fronts. The richness in older Blackmagic cameras might have more to do with CDNG than dual gain output. I personally find the dynamic range on Sony’s current full frame sensors adequate. Something I wouldn’t want to give up is high ISO performance. In fact unless I have to I’d not purchase another camera that doesn’t have dual ISO.

I didn't know the C70 used a lot of noise reduction. The FX6 seems more organic.

I owned the F3 briefly and ultimately sold it as I didn't see a very noticeable dynamic range improvement over the GH5 I had. The ND's were great, if it had internal 10 bit it would be much more compelling. I've never loved having to deal with an external recorder. Combined with Sony's crazy menu's make it a not great one man band option, at least for me. If you are content with the 8 bit recording its definitely more run and gun friendly. Its 6400 iso is pretty usable and the battery life is great. Theres definitely a resolution race however dynamic range and high iso performance are paramount in most people's decisions as well as VFR options. Not many are out there getting the URSA 12k over something like the C300 MK2. The C70 and FX6 have done really well despite only having 4k sensors. Alexas that don't even shoot true 4k still dominate higher end projects although the Alexa LF is becoming more of a standard (is it due to its full frame or 6k??). I have to admit I've found myself doing a lot of cropping in post lately as per client request. 6K sensors certainly have a benefit here although the lens resolutions are often a limiting factor when shooting wide open which I do very often.

Yeah I find their dynamic range readings helpful sometimes. I think where it fails is reading the shadows properly. The readings become inaccurate when noise reduction comes into play and of course how much noise is acceptable is also a subjective thing. This is where it gets really confusing as the URSA shadows really fall apart especially due to the fixed noise pattern and the URSA is also weaker in the highlights. So I have no clue why the reading for the P6K is so low compared to the URSA. The P6K does about 2 stops more in the highlights than the S1H or A7S3. The question is, are the Pocket shadows that much worse than the S1 or A7S3 to warrant such a low rating? I'd say the dynamic range on all three cameras are very similar. IMHO the only camera that really punches above the rest in terms of dynamic range is the C70. The S1, A7s3 and P6K are all great but also all in the same league or at least relatively close with the P6K and S1 in the lead by a little. I think the original FP is a compelling camera. CDNG is probably the best form of video recording(highest quality*) 12 bit CDNG Full frame is pretty compelling. The lack of full HDMI is a bummer though. I'd love to test the camera with an under and over test to see how it actually compares to the S1 or A7S3. I'd imagine it should be similar as they all use Sony sensors. But maybe Sigma did something weird to gimp it.

I think the OG FP is a cool camera if you don't mind huge CDNG files. Not sure how accurate that list is. The P6K has more dynamic range than the URSA 4.6k by a good bit. Also the S1H and S5 dynamic range aren't that far apart, maybe 1 stop at most. Same sensor, same codec, same log.

On the OG FP its full frame 4k, binned.

The A7S3 unfortunately has internal NR and Sharpening that can't be dialed down. Its a completely different comparison but comparing my S1's 10 bit codec to REDRAW, in good conditions I don't see much difference. But with harsher conditions the RAW just looks better, everything just rolls off nicer both color and contrast. I assume its the similar with BM CDNG and the A7S3 codec.

Yes, I said 12 bit codec as BRAW isn't actually RAW which is why it doesn't conflict with RED's patent. I am perfectly fine with any type of 12 bit codec even if it doesn't have white balance control. The extra color information is what I am after. As long as the bitrate is high enough to support it.

A 12 bit codec like Blackmagic has would be just as good as RAW for me.

Yeah I am pretty sure they both do MP4 as well. If you want to utilize your EF lenses the Canon C70 seems to be the best option or the C100 MK2. The adapters for Sony seem dicey.

Yeah you'll have to transcode the HEVC to Prores. It a breeze on the new MacBook M1's but on older Macs or PC's its a nightmare. H264 4K 10bit is often pretty tough on editing systems too though much better than HEVC.