Ninpo33

I do remember cheering out loud when I saw the filmmaker Cullen Hoback using an S1H on some BTS footage of the HBO doc from 3 years ago about The Q-Anon cult. I think he shot the whole thing with two of them.

One things no one has mentioned yet is Autofocus. FX6 and a couple of FX3’s make a pretty solid doc package on the cheap and might be able to eliminate 1-2 crew members/operators if depending on AF for talking heads and run and gun stuff. I’ve missed a few big shots on the GH5 on interviews using manual lenses. I was in a contrasty low light situation and thought I was ok with the focus range to be able to lock off a second angle on he GH5. I didn’t notice that the talent had adjusted their chair forward and about 20 min into the interview I looked over to see a soft image on the monitor and cursed myself for missing it. That would have surely been saved with Sony AF on the FX3. Same with AF for gimbal work replacing more expensive steady cam stuff with a 2nd AC operating a FIZ. The FX6 can be built up into a good looking full size camera to impress clients meanwhile the small size of the FX3’s can be used like @IronFilm mentioned as crash cams or car mounted stuff. Good rolling shutter and low light performance along with small travel bags for airplanes makes it all a pretty solid setup.

Yes, even with the adapters and speedboosters the wides are pretty compact. I would like to do a shootout with all the various Vivitars and find the best ones. I just recently discovered the older Soligor lenses built by Tokina as well. All f/2. And yes, S1Rii has Prores in all the different crop modes I believe.

I Currently have the Fuji X-M5 and the LUMIX S5 with adapters for both with either a GFX100s or a S1Rii on the way next. Still getting used to the little Fuji and haven’t tried the 90mm or 135mm on there yet. I have a m42 speedbooster for Fuji from Kipon but it’s been getting stuck on the camera and I worry about damage. Plus it’s a little ridiculous on the tiny little body.

I agree, 61mp with three different modes for stills (like the SL3) would have been great but not with the same sensor as the SL3. I guess they waited long enough to try sort out a decent readout speed and in the end I’m glad they went with the sensor and lower pixels to make it a better hybrid. I can live with 44mp or so but if I already had the 61mp Sony I would be in the same boat as you and wouldn’t feel the need to upgrade. If I shot more sports, events or weddings I would have already bought an A7RV and made do with the weaker video specs. Good news is that GFX100s is at $2,500 now so it’s becoming a tight little race indeed.

Yeah, for sure. I mean, that’s why I’ve been waiting over a year for the high res stills body and not bought anything. I just wish this camera came out two years ago LOL. While waiting for all the Panasonic S2.0 bodies I got impatient and bid on two different SL2 models on eBay. They both went above $2k and ended up above $2400 with tax and fees. For me the $2k was kind of a psychological barrier that I could justify the camera at. I also bid on three different S1R models and ended up winning a great deal on one that ended up being a scam. The S1R’s I was going for under $1,200 all in. I need high res stills and need the second body to shoot solid 4k video. Ideally to be a full on second video camera when needed. Because the SL2 has Log and the S1R doesn’t I was after the SL2, plus I’ve always loved the design of the SL series and could justify the extra $$$. And the SL3 and SL3-S are just totally gimped and the $6k prices are a joke. But now…? After the S1Rii the SL2 just feels stupid even at $2k. It’s not just the 8k but it’s all the new 2021 - 2025 advancements we’re getting. Even something as simple as shooting to SSD’s and 32 bit float actually change my workflow in pretty substantial ways. I’ll be selling some lenses and other gear soon and pretty excited to upgrade soon. If and when the S1Hii drops the S1Rii becomes a solid B-Cam

Oh yeah for sure. I think it’s already a deal for what it can do and paying full price at launch for this one is easy. The $6800 Sony A1 is another story. I buy a lot of open box/gently used gear from Japan on various shopping sites so I’ll probably wait for one of those to pop up in the next few months. They have a lot of 3 day sales with 10% - 15% off coupons and free shipping. Plus there’s no tax so it will be just under $3k very soon with the deal.

135mm is a nice little compact design and made by Komine. I love the look of the Series 1 lenses with the little cut out/ aperature window on the lens body. Yes, It gets a little confusing with all the different companies making lenses for Vivitar at the time. There were a couple models and you can tell them apart by serial number. All of them are good build quality and a good deal. Performance is nice, especially for the price but some of them have an issue with oil leaking onto the blades. 22XXX - Kiron/Kino Precision Optical made lens - 37XXX - Tokina made lens 28XXX - Komine made lens

Yeah I heard them say they are TRYING to make it affordable for the consumer, "NOT JUST RENTAL HOUSES" so that for me was disheartening. That sounds like $10k minimum to me if they even have to say a line like that. Honestly for how close image will probably be to the 100ii it would make more sense for me to just wait and pick up a used 100ii and rig it up. The second generation Eterna will probably be a beast of a camera if they can get those read speeds quicker and incorporate the next level of tech that's coming.

Yeah, 15.3ms on the 60p modes 7.3ms on the 100/120p modes. it's funny how Lumix were so late to the party with FF 4k 60p but then once we finally get it everyone is all bent out of shape about other features and the 60p just gets passed over. If you're talking about overall specs and performance that might true but it depends on what you're upgrading from. I think it's pretty close when you factor in usability and familiarity of Lumix products. After years with Lumix cameras and workflow it's nice to not have a steep learning curve in menus, functions and post processing. We've talked about being invested in a system and the true cost of ownership will depend on other factors. I shoot a lot of anamorphic so Panasonic has always had an advantage when it comes to crop modes and IBIS specific to that format. That alone makes it really stand out for me. I'm probably going to pick one up once I can get it for below $3k open box/used. I was really close to getting a used SL2 or a S1R and bid on several deals the last 2 months. But now at $2k the SL2 just isn't practical when the S1Rii can be had for just $3k or so. Same goes for the Sony A1 mk1. For $3k used and several years old now it feels like it's loosing its mojo for me compared to what's coming.

I have the 35mm f/1.9 as well. Both of ours are probably made by Komine for Vivitar. Does your serial number start with 28XXX? Great lens. I also have the 24mm f/2 and the 28mm f/2 from the same time period both made by Kiron for Vivitar: Series 1 I only have the Bokina and the 135mm f/2.3. I think these will start to be creeping up in price soon due to people finally finding them. : )

This new video from Connor is helpful to me. Nice little rundown of a lot of the main crop modes. He was nice enough to include a link to download all the files so if anyone wants to play, check out the link below. A couple of things if noticed while reviewing footage and doing more research about the S1Rii, the color fidelity really does look good, I’m really liking this sensor so far. Kind of crazy how good the 4.2.0 files look compared to the 4.2.2 and Prores. Also there is mention a few places that the new IBIS is so good that it might be helping to counteract the slower readout speeds. Would be quite the development if that ended up being why the 24ms doesn’t look bad to most people…

DRE is only available in the 5.8k and above higher res modes if I remember correctly. Also, read out speeds at 4k and super 35 are below 15s rolling shutter at 60p so very usable. Also, I love the ”Bokina”. I have several of the older Tokina/Vivitar Series 1 lenses and they are really a bargain for the image they produce and the build quality.

One of the big things causing issues is the DRE mode for extended Dynamc Range. It’s a feature but will cost you RS when turned on. It’s the same as in the GFX100ii. Quoting RS speeds in 8k with DRE turned on is absolutely the worst for RS. So as Andrew mentioned, it’s all about real world use. No one in the real world would turn on DRE and go shoot action and F1 cars. It’s the wrong tool for that job. So for Gerald to focus on the 31ms speed and keep repeating it was disingenuous.

Exactly…!!! Whether he likes it or not, he’s become a YouTube personality everyone trusts and goes to for “scientific results” and there are a lot of people that misconstrue his results. With the S1Rii all he had to do was say something like, “rolling shutter isn’t great, about the same as the other LUMIX cameras, turning DRE off will help a lot. This is a common trait of high res sensors like the A7RV and the SL3 so 8k readout speeds will be slow” A line like that would have literally saved so many stupid comments and made this thing much less of an issue. He’s trying to blame LUMIX fan boys for people complaining when he really needs to check his ego and learn how to take constructive criticism.

Right. I just use this as a quick reference guide and then do like you and set custom settings. It’s nice to see lens coverage though.

I found the charts on DP Review helpful to break down all the crop modes on the GFX100ii.

I’m using open gate with great success on the Fuji stuff: X-H2s and X-M5 but yeah, for full frame it’s a short list. And then the GFX 100ii and upcoming Eterna for medium format.

Good points.

Agreed. But I thought you were just looking to go straight into Resolve without any transcoding and that’s what your comments were about.

Yeah, I feel like these days companies really should figure out giving us an open gate setting even on older cameras. With so many people shooting stuff for social media and the rise in cheap anamorphic lenses it feels like a no brainer. LUMIX was always so ahead of things in this regard, so crazy to think that the FX3 still doesn’t have it. Would be a perfect addition to the Z8

Oh definitely. But the post was about being able to use Davinci Resolve with the S1Rii files. Also, just like the S5iix you can record to small little m.2 nvme SSD sleds which are cheap, fast and easy to mount.

Another vote for the S5. I got mine used from Japan for $535 and it looks like new. They gave that camera a new life with the later updates too… I have mine as a B camera with a Ninja V+ on it because that last big update gave it raw 6k, 4k s35 and 3.5k anamorphic raw. So with the S9 you get all the latest lumix has to offer but the S5 makes a really sweet B and C cam now. And that sensor has such a nice look to it compared to the over sharpened S5ii. It’s not a big deal but I feel like it looks a little closer to the S1H. My only gripe is that they never really figured out how to do L-Mount speed boosters for Panasonic cameras. I emailed metabones 3 or 4 times and they never gave me a reason. I have been told there isn’t enough room but some of the other shorter flange distances work so who knows… luckily at this point we’re finally at FF 60p with no crop moving forward. I do however have the Kipon Focal reducer to adapt the Mamiya 645 lenses to the S5 so that’s been fun. Since AF isn’t the best I doubled down on vintage, manual glass. Second I would say the small bit mighty Fujifilm X-M5 at $800. Like a baby X-H2s with quite the list of video record options. Ranked 8th best in DR tests by Cine D. And quite the image with 6.2k open gate and 60p/120p 4k. Rolling shutter can be a little bad in the open gate modes but there are some other faster options to choose from if that’s your priority. Also, the Raw output (6.2k 3:2 and 5.2k 60p) is unexpected in such a tiny and cheap camera. Just have to get a locking cable bracket because it’s micro HDMI. No IBIS so makes for a good drone cam or car mount/action cam and matches perfectly with the X-H2s. Fast data rate speeds and 4.2.2 color with F-Log options. lens tangent: I have been using it with the little Blazar Nero 1.5x adapter for Anamorphic 6k and love the results. The Blazar is a little wild at full frame but for APS-C it looses the funky edges and looks a lot cleaner. Plus you can add it to your lens of choice and have fun with it. I’m adapting some 60’s Japanese rangefinder lenses to M mount and they pair really well with the Blazar.

If I’m not mistaken there is internal ProRes and ProRes HQ internal as well as ProRes Raw.

Oh hey look, Ed Prosser’s. Video I mentioned a while back. Look @eatstoomuchjam now you don’t have to waste your time googling anything. Here it is, delivered right to you.