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I had only original S5 before the S5II, but the various 8k and 4k H.264 4:2:2, H.265 4:2:0 and Proress samples from S1RII looked clearly not that over-sharpened during the short period I played with them in Resolve. They were much closer to S5, colors were kind of richer, and in low light shots it looked cleaner and good. I was seriously tempted to switch back, but did not want to get rid of my new Nikon lenses. I was also put off by the various crop modes and over heating. Now, with Z6III, ZR and 4 Nikon lenses it would need S2H with good EVF, 4” screen and H.265 IQ comparable to R3D NE for me to switch back. Proress Raw HQ file sizes are even bigger than what R3D NE has, and raw controls worse in Resolve, so that is not an option for me. -
By fuzzynormal · Posted
I'm of a more ramshackle mentality, but even my loosey-goosey philosophies hit a limit. fyi, this particular doc was about people that are trying to help conserve raptor migration through SoCal. So, lots of bird shots. Which we don't really do, nor have done. The whole thing became kind of a production experiment. We were only answering to ourselves so we could take risks like that. The scope of the project kept changing, but the finances never did. There was very little money in our pockets, and what we did have we needed to save for travel. And being a seriously-non-affluent-filmmaker, it basically came down to a make-do-as-we-can process. Our personal finances, as well as the various situations of the shoot, were all over the place. We were borrowing/renting lenses and gear in a very haphazard way. Sometimes it worked. Mostly it did not. Meanwhile, the stuff we had in our own collection was inferior. For instance we used a POS Vintage Photax 500mm w/2x extender for an entire season to get a lot of the BIF shots. That was an insanely unfortunate thing to do, but it's what we could afford to have on hand. The biggest bitch was not having a real tripod. We truly wished we had friends/colleagues that could have let us use a pro Sacthler or Miller. More than willing to carry some sort of hefty rig into the wild if it would've allowed smooth shots when filming at a +2000mm FF equiv. That FOV reach is f'in hard to control. As a side note, it was pretty wild running around with birders carrying equipment that was so expensive and professional while us "filmmakers" were often using, basically, consumer toys to grab video. At the end of the day, the images are passable by a certain standard, but when you pixel peep you can tell it's all held together with spit, bubblegum, hopes, and prayers. "f8 and be there" was the mantra we had to talk ourselves into and accept. "The best camera is the one you got." ...That sort of thing. -
Photo and video. So many so-called reviews are really just biased opinion pieces that are all about getting views, sponsorship and ad money, rather than authentic unbiased guides, but that is just how it is. I think anything around that pixel count will deliver similar results whether it be Nikon, Canon, Sony or Lumix and never tried a 100mp medium format Fuji or Hassie and it would be quite interesting to shoot one or the other back to back. On-line, unless told or pixel peeped to a high magnitude, I doubt anyone could tell and for me personally, there is a sweet spot of professional pride in my craft as it were and for stills that is FF and for video FF or APSC and possibly even 4/3… -
Yes, but again it's all about intent. If the ppl making the movie elected a particular piece of gear bc that was their intention it's a good sign they know what they are doing. Most artists are really picky about their instruments and cinema is no different. Why? Bc the creative intent changes with the instrument selected to convey the idea. Great photographers know this and have to think clearly what will be sacrificed by changing their usual gear for any given task. The Arri trope is all about the industry. Ppl making bad movies just mark a bunch of high-end gear bc it will make it look like every other movie out there from the last 15 years. -
I couldn't agree more, Most of my stills now are on the S1R2 and the files are fantastic. Only step up for me would be a GFX100II. I don't think any of the typical reviews can address this, I think you have to shoot and work on files for a few months to get a good feel for what you can do (and can't do) with them.
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