All Activity

I have the AR mount version. It's a decent lens by my eye. My copy has a trashed front thread and the rubber missing from the zoom ring- neither are a problem for me. I've seen them in K-mount too, but I'm not sure if there any differences. The fact that it has been used to oblivion is a good sign to me- somebody loved this lens to use it that much. Judging from this video and the video he shot entirely on it, I'd say there aren't any differences. I also have a Pentax 35-105 f/3.5 constant that belonged to my father, but it's almost impossible to use. There's just so much gear noise and you have to go into a full-macro mode to get somewhat close. Here's a video describing it:

if the camera is too small, the heat will affect the footage. this is why the footage of the alexa classic is better than those of later alexa mini etc.

all true hands on experience. the cmos battery dying is no big deal. get a cheap sd card, save the settings on this sd card, load the settings when needed.

i feel c300 og is more cinematic than c100 2. maybe the olpf on c300 og is better.

true

c300 og has very good low light, according to my test. have not tested c100 2 yet. c300 og noise pattern is organic, not disturbing. can go iso 25600 if the in camera denoise is maxed. can go iso 6400 if the denoise is standard.

i think c100 2 may be one of the best ergonomic cinema camera. i use it without the top handle. it is just like dslr with angled evf and swivel lcd and all hard buttons. with efs 18-135 or efs 10-18 stm is, handheld can have good enough stable footage, auto focus is good enough for general street scenes.

for human faces and skins, it is true wide dr is great. rarely need post cc. also 60p 1080p means you can do quick pan and tilt without blurring the footage.

resolution is enough with my mba m4, especially, those takes on wide angle rocky mountains. some shots missed the focus on the talent faces. if focusing right, the faces will be clear too. color is great. how much the latest crop can improve more on this 10 year old clip, not sure.

10 bit is more robust for color grading, from my hands on experience. however, c300 og and c100 mk ii have very good presets in camera. the need for post is minimal. if you use clog instead of baked in presets, then do minor cc is ok, dont expect heavy cc. but sensor wise, c cinema cameras have much better sensor operational ranges than mirrorless, even high end mirrorless.

I picked up the Nikkor after watching CP's review and doing some searching and seeing how many people described it as not only the worst lens Nikon ever made, but also possibly the worst zoom ever made. They might be right, but I'm sure I'll find the right time to use it someday. I'm not sure if this true of all of them, but mine also has the problem that when I put it on an EF adapter, the back of the aperture selector is so tight against the edge of the adapter that it can't even possibly be moved. I had to use a pliers to take it off to make sure I didn't do something wrong. Maybe there are other EF adapters that would work better, but for anything I'd use the Nikkor to shoot, I'm sure I'd want it wide open anyway. I'm looking forward to watching the video on the Makinon. I've not heard of that one before - and if it's still $30ish on eBay, I guess there's not a reason not to buy it.

I have tried a number of cheap/crap 28-80ish lenses on the GFX 100 and they all have a knack for covering the sensor perfectly if you zoom in past 35mm So the Makinon I am interested to hunt down in Berlin and try... The Nikon in theory has the perfect focal length for the GFX 100, but I am not sure I share our YouTube friend's enthusiasm for the flare... The Makinon was much nicer to my eye

f2.8 on M43 is kinda a sweet spot though, don't ya think? Are are you trying to Spielberg it?

That is all. Thanks for coming to my TED talk.

Sorry if it was already mentioned but the Canon R50V ($699USD) seems like a no brainer. But also depending on when you need to squeeze the trigger, Canon is rumored to be announcing a new Cinema cam with the R50V compact form-factor next month: https://www.canonrumors.com/canon-to-announce-new-compact-cinema-eos-camera/

Good luck. Manufacturers changed coatings every time they went to the bathroom. They were always getting tweaked. Granted, they often had similar looks. You can find some very unique f/3.5 constant zooms that will do the job. Some of them are sharp and cheap with magnificent and crazy flares. Here are some that I found interesting. I have the Makinon zoom lens.

https://www.techradar.com/cameras/drones/new-dji-mini-5-pro-leak-suggests-it-could-be-perfect-travel-drone-thanks-to-these-two-features

I usually use normal white balance but some venues have the most bizarre mixed lighting and it’s very hard to nail WB. That’s the only time I used AWB. If the lock feature was more sticky it would be great. Unfortunately it seems to randomly turn itself off! As for being perfect, where’s the fun in that? 🙂

Nope, only have the 40-80. The only things I don't like about it are the highlights are a bit too glowy and it's a heavy little fucker!

Have you compared it to the replacement 35-70mm? The latter lens is very handy on the GFX 100 and filmic looking.

Try it. It’s basically your any 5 personal settings at the turn of a dial. OK, in C3, also requires a menu selection of 1,2,3 but still, far FAR quicker then fannying about with actual settings etc. The only real issue in shooting hybrid as in flipping between stills and video, is ND’s. The options are: A. Shoot either higher shutter speeds, or with a greater depth of field, or, B. Flip up VND, or, C. Shoot stills with a VND, but on it’s lowest setting so if it’s a 2-5 stop, pretty OK actually, but if it’s a 6-9… I have tried all 3 and could make a case for and against all of these and use C. It’s OK usually with short clips, but longer stuff or matching multiple camera angles which always have a different WB… Each to their own, but you might as well pick an outdoor WB and am indoor WB and get consistency. It’s never exactly the same just as it isn’t with stills unless it’s just one single light source, but it rarely is and instead a balance of artificial and ambient and proximity and angles and all that physics stuff. Vlog and a baked in LUT has been a game changer for me. I still haven’t quite dialed it in and it will probably always be a work in progress but getting there and more than happy with it. It’s not Hollywood or even Indie movie colour grading, but I don’t have the time and am not being paid enough! Nope. Never shot in anything sub 4k even though I deliver the longer form stuff such as ceremony & speeches in 1080. The 7.2k out of the S1Rii looks fantastic to me and it’s my next area of exploration… 1. Nail down the tools. Check (finally) 2. Work on the next level of creativity from a purely storytelling perspective. 3. Work on the capture quality and grade ie, bringing that beautiful 7.2k into the process and that grade I’m still working on. I think we get to a point where we are at about 90% with every and anything and that last 10% is always a work in progress…

I'm going to try the C1 etc set up. I've been a bit lazy to try that. It makes sense to start with auto ISO when switching to video, I hadn't thought about that. Heat is a big thing here and the S5iis handle it perfectly! I sometimes use AWB with AWBL (lock) in very tricky lighting. The AWB does a good job but the lock seems a bit random. Sometimes it says locked for a good while and other times it turns off and I haven't worked out why. I have no desire to go into RAW. I'm just starting to use VLOG and built in LUTS! Have you ever tried 3.3K 4/3?

A little bit of trial & error plus fine-tuning in the final (all LUMIX) line up and I really did think the 28-45 would be perfect and Job 01 I was kind of OK with it but Job 02, it was niggling me and I flipped to the 50mm f1.8 just to see the difference and the penny dropped. I think even if they popped out a 45-90mm f1.8 with internal zoom, I wouldn't bother now as with a 35 and 85 (which is how I used to work pre L Mount, 90% of my work), I can real world do anything a 28-45 + 45-90 pairing can, but at 1/3rd the weight, 1/2 the size and 1/2 the cost. It doesn't but you can do exactly the same thing with C1/C2/C3 etc. For the brief period I used the S5ii for hybrid, I had: C1 outdoor stills (5600K) C2 indoor stills (4500K) C3-1 6k 30p 5600k Low auto ISO outdoor video mode C3-2 6k 30p 5000k High auto ISO indoor video mode C3-3 4k 60p e stab on 5600k auto ISO, gimbal-like / slow mo mode (obviously goes into crop mode for this) The photo/video switch on the new bodies simply gives you 5 options for each instead of 5 total as with the S5ii. Those were the 2 lenses and for the same reasons, I was using the year before last. I wouldn't trust the S1Rii statically, on a tripod, in direct sunlight, on a 30+ degree Celsius day, say filming a ceremony. Not tested it, but no need because I have no need and the S5ii does it just as well if not better, so right tools for the right jobs and all that. Unless you need above 6k video or stills above 24mp, absolutely no requirement for either the S1Rii or S1ii and even the S5ii can shoot raw for anyone that needs it to with a paid software download. I think if I had 10+ years left in the industry, I'd be at least looking very hard at raw video, but I haven't got 10 years and don't want to get into a whole new learning curve and massive hardware/storage updates for something my type of clients would never notice, so nah. Your plan for a pair of S5ii's with an S9 makes sense. I could live with 3, but having 4 in the end I decided now makes most sense with 1 permanent static (the S5ii) and 1 semi-static (the S9) with the pair of S1Rii's hybrid in the hand.

Sounds like you are finally getting what you were looking for! I'm still mainly video but still have quite a few video and photo events. I think I've decided that I prefer having one camera set up for video and one for photo as the S5ii doesn't have the photo/video switch. I've been using 6K OG 30p and it's good but I miss 50p. I'm starting to test the 3.3K 4/3 50p. It's apsc but I think it might give me a happy medium for horizontal and vertical filming with 50p, kind of a OG lite. This means I'd have my 28-70 2.8 as my main photo lens with the Lumix primes for special moments and I think I'll test a second hand Sigma 18-50 2.8 apsc lens to see how that works for video. It would give me similar focal lengths on both cameras. If it works well for company events then I'll try that at a wedding when i get my next hybrid one (this year they are 95% video only). If that turns out to be a good combo then I might look to get the Sigma 17-40 1.8 for video. I've decided the new Lumix's are not for me at present. It's too hot here to make use of the video features so I'm going to workout how to get the most out of the 2 S5iis and if it all works out, get a 3rd camera, the S9 and the Sigma and that's me good for a few years.