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Anyone with a Panasonic S5 II or S9 interested in testing my in-cam ARRI compatible LOG C3 profile? 1 2
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Is there really no electronics on the lens mount? That's a bit of a shame. Is there any info on crop factor, as I understand it's not an MFT sensor, only MFT mount. -
Looks interesting with an MFT mount and the claim the Hypersmooth works with any rectilinear prime (their stabilisation is a pretty important feature, especially with how small they are). Of course, if they don't have animal eye-detect PDAF then the internet will skin them alive!! -
By newfoundmass · Posted
Broadcast/live streaming is where the money is right now. There are so many mirrorless camera options that releasing another affordable cine camera probably doesn't make sense right now, especially if they don't significantly improve upon what BMD already has out there. I feel like the lower end cine market in general has retracted a lot. We're a long ways from when ZCam and BMD were regularly releasing different variations of the same camera, and both are more focused it seems on broadcasting than filmmaking right now. It's not just sports broadcasters buying this stuff, but churches, schools, governments, hospitals, non-profits, concert venues, etc. too. One of the biggest concert venues in my state now has a live production set up to encourage bands to film their shows for release there. It has hurt local freelancers who used to film concerts there for bands. Zoom during the pandemic really ushered in the era, but in the years since the needs/wants for these folks has grown and a company like BMD has done a great job in capitalizing. -
By eatstoomuchjam · Posted
The Z Cam E2-F6 does open gate 12 bit raw by HDMI to external recorders in 3:2 open gate IIRC. It uses the same IMX410 sensor from 2018 - which was about when that camera was released. The X-H2S also does 3:2 open gate 12-bit raw over HDMI, though it isn't full frame. Heck, even the X-M5 which costs like $900 brand new can do 3:2 open gate 12-bit raw over HDMI - again, not full frame, but given the existence of high-quality focal reducers, beautiful vintage glass made for S35, and beautiful Fujinon glass, I'm not really sure that matters too much. The Canon R6 III does full frame 3:2 open gate raw and costs less than Pyxis. The Canon C50 barely costs more (and is about equal if you buy a Pyxis monitor to fix the side screen ergonomics problem) and has full frame 3:2 open gate raw. Also, I'm pretty sure the S1 II and GH7 support open gate (3:2 and 4:3 respectively) in ProRes RAW for internal recording. I can't remember if the S1R II or the S1 IIe or whatever the "lite" version is called do. The S1 II is a bit cheaper than the Pyxis and doesn't have the poor ergonomics of a non-moveable screen stuck on the left side of the camera - and I'm pretty sure it's also using a newer sensor. And back to S35, a used Pyxis and a used OG Komodo are pretty close to the same price now. Of course, open gate on the Komodo is 17:9 so it's not a dream camera for people trying to double-frame for single take social media stuff, but it is also a global shutter and at least claims to be using a 16-bit raw codec (some users believe OG Komodo is only sampling 12-bit data from the sensor - FWIW, dynamic range seems pretty similar to what I remember from my E2-F6 which was IMX410 so it's probably similar to Pyxis 6K). And FWIW, in terms of "the user experience," I'd gladly take the ergonomics of the tilty screen of my GFX 100 II shooting video (which means, probably any of the Fuji APS-C cameras too) over trying to navigate menus on a touchscreen on the side of my camera, especially if on a high hat or similar. I've considered Pyxis 12K despite the ergonomics problems (partially mitigated by Pyxis monitor), but for the price, the C80 with internal ND and triple native ISO becomes a lot more tempting to me.
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