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By eatstoomuchjam · Posted
"I ruined a lot of shots just because I thought a $10,000 camera setup would transform my bad lighting and framing into something cinematic." Flawless quote. I've used mine as the A camera on 2 short films so far - one for Four Points Film Project and one for a local short film festival called Z Fest. My favorite modes are the 5.8k 2.39 mode that uses full sensor width and the full size 4k mode where I can choose between decent RS and high dynamic range. I also like the 8k mode, but less for the resolution and more for the crop to vary up my prime focal lengths. It also doesn't hurt that the Fuji 110/2 is probably my favorite lens that I ever used on any format/camera. Going in for a any sort of close-up with that lens feels like you just typed a cheat code into your monitor. For most shorts that I shoot, I'm way more likely to just grab the C70 or the K-X. The Fuji can make some amazing images, but I'm always having to think about which mode I'm in and which positives/drawbacks that mode has... plus the big sensor can create some problems. Like, if I put on a fast manual lens with character that I like, I might need to stop it down to f/4 to get enough working DOF to keep the talent in focus while they move (or to have the tip of their nose still in focus while their eyes are sharp) - and by f/4, a lot of the character that I like in that lens vanishes. This objection is reduced a lot with native or EF glass, though, since the eye detect AF is really decent (back to the 110/2, did I mention that I love that lens?). That said, if I'm traveling and can only bring one camera, it's a no-brainer for me. The GFX 100 II is by far the best all-around camera I've ever touched. I've taken it to Turkey and Brazil since getting it and never found myself wishing I had another camera with me. There's a reason that my answer in the "If you could have only one camera..." thread was simply "GFX 100 II." 😁 -
By eatstoomuchjam · Posted
I'd take the S9 over the fp. I had an fp and an fp-l for a while. I used them on some personal stuff and they were a lot of fun with M mount lenses, but in the end, even using the DPL cages for them, by the time you made them even remotely usable, they were much bigger than something like an EOS R5. Without an external SSD, they're limited to 8-bit codecs - and if I remember right, there's no log profile anyway - just a "flat" one which didn't really seem to add much DR vs neutral. Anyway, 10-bit v-log on the S9 would be just fine and give some flexibility. Also, I'm not sure what RS is like on the S9, but it'd be pretty shocking if it were as bad or worse than on the fp. Also, FWIW, there is no cooling fan on the fp (that I remember), but it does have vents for airflow. Overheating was never a problem with mine. Anyway, I sold my fps because other than "it's a bit smaller," they didn't do anything better than any other camera than I own - and while the smaller argument is valid, it evaporated as soon as I turned them into something that I would actually shoot with. I still hold out hope that they'll come out with a newer one with 10-bit or 12-bit internally, though. 😄 -
By eatstoomuchjam · Posted
Keep in mind that in 2009 (when the 7d was released), the number of consumer lenses designed for APS-C was even less than now - and there weren't a ton of people adapting vintage Cooke lenses to the 7d. Plus, 15 years ago, sensor technology was not what it is now. Personally, I don't care a lot for Sigma lenses. Every time I put one on my camera, I feel like I'm putting on something designed by a robot - all technical perfection, no soul. But yes, the 18-35 is quite popular. The EF-S 17-55/2.8 is one of the standout lenses for Canon APS-C, but it's one of only a small number. Fast primes? Not many. I HAVE considered picking up the 18-135 USM for a walkaround lens for C70 + Komodo-X since it's decent enough quality and a big zoom range, but while I'd use that for personal stuff, I'd be really unlikely to take it out of the bag when on set. Who is making CCD in the still world nowadays? The sensor options in the still world are about the same as in the video world at this point. Still world has Foveon, but video world has the 17:9 sensors included in many cinema cameras - and most mirrorless cameras (excepting GR1 and Hasselblad medium format) support a video mode which effectively means that most modern still camera sensors are also video sensors... but most dedicated cinema cameras don't feature a still photo mode. The main thing to differentiate a pro DP from an amateur, IMO, is knowing how to light. Choice of cameras like the Alexa tends to be due to a feature set designed for a large crew, reliability, and having the most flexible image to hand off to professional colorists who also spend 80%+ of their time working on footage from the Alexa. This is one of the reasons that a lot of stuff was still being shot on 2.8k Alexa when RED had 4, 5, 6, and 8k sensors available in their cameras. As people here have repeatedly pointed out, a lot of the best DP's aren't making choices for the sharpest possible image - if you want the image to look a little soft, using a Speed Panchro on a 2.8k sensor to upsize to 4k is going to get you there. Will any Internet camera/lens reviewer give a glowing review to that combo? Doubtful. Will an audience watching the film walk out talking about how beautiful the film was? Yup. As a perfect example, I just watched Dune 2 last night since it's finally free on Max. Lots of people have been talking about how beautiful it was. As I watched, some of the scenes were really pretty sharp-looking and they were the ones that seemed mostly CG. When humans were on screen, I repeatedly noticed how unsharp the images were. Googled a bit and found this bit from the DP > "Texturizing the image was the name of the game. The larger ALEXA sensors are so extraordinary that I felt we needed to dirty the image up a bit." Shot on large format sensors, but too much perfection/sharpness felt soulless. Also: > We had a 57 mm LOOK lens with Petzval glass where you can dial in your effect with a third lens ring Dude shot parts of Dune 2 with a $400 Lomography lens. https://shop.lomography.com/us/new-petzval-55-f-1-7-mkii-art-lens And: > Ultimately Fraser and his team decided to use spherical optics and he worked with a diverse range from ARRI Rental including re-housed 1980s Moviecams and re-housed Soviet-era glass provided by IronGlass, along with some lenses from his collection. Dude shot parts of Dune 2 with Helios 44-2 and Jupiter-9 and lenses like that. Can't afford the IronGlass rehoused versions? Go buy 'em for like $200-300 on ebay. -
Yup, that's what I want to know. Fingers crossed it is the camera I hoped the S5ii would be, but isn't quite... Not by much, but 'enough'. I suspect it might have something to do with the RED acquisition as maybe...just maybe, they have delayed it in order to at least roll out 'something' with it. I thought April as did many, but it's June next week and still no actual sign. I've got the tools right now I need, so for me it's more a streamlining want. Sorry; ZE V1. (I can never remember what order the letters and numbers come in) Bit of an issue I agree. The Sigma 28-70 f2.8 even is a bit much for a so called 'compact' camera and the 18-50 f2.8 is a much better fit, but takes everything down to APSC crop mode. Which is not necessarily a bad thing for the intended market of this camera. But the f8 lens, come on. Not necessarily the lack of any shallow DOF which is more an 'artistic' thing, but it's a killer for anything remotely low light without cranking up the ISO to stupid levels. Concert/gig photography for instance at f8? Err, no thanks. And also having to potentially fight that e:shutter and banding. I don't want to hate on the thing and could even make a case as a back up/personal camera...but actually even that would be a very weak case and I just would not. Not for me but maybe is for some others. -
By eatstoomuchjam · Posted
Ha! I never thought of it as a Civic, but that's great. I'm going to remember that. I recently got a Komodo-X and even though any number of specs from the K-X are better on paper than the C70, I fully intend to keep using my C70 for a lot of stuff. Having built-in ND filters and a ton of buttons to assign things to and an articulating internal screen, the C70 is just faster to use. Plus the DR is great and the image looks nice SOOC. I kind of think of it as a camera used by people who want to get it done. It's not flashy - and when you show up on set and tell people you're using a C70, nobody's all excited... but when you show the results, people are happy with them.
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