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  2. Fair and honest review! To nip tick comparing used vs new prices is not really representative as in a few months there will be some 1Dx III used so then the gap will be different. You like a lot the GFX 100 that seems a really good camera and probably targeting the opposite audience than the 1Dx III (high res MF sensor vs low res sport camera)... I'm not up-to-date at all on GFX 100 but isn't the RS quite bad there too like 28ms or so? The data rate at 5.5k 60fps is 10%-20% than a RAW cinema camera so not that bad but yes they are huge. As comparison at 60fps on a 512 GB card you get 26 min for the 1Dx (5.5k), 30 min for the C500 II (5.9k) and 33 min for RED (6k) 7:1, BM (6k )(194 MB/s at 24fps) if it would be 60fps would be around 30min too..... high res RAW are big. C500 II the ratio is fixed on RED and BM you can go higher compression but at least on RED people seems not to go higher that 1:7 - 1:9.... komodo will be 30min HQ and 50 min LQ but 39 fps so if it would do 60fps would be in the same ballpack. RAW is definitely not for everyone....
  3. you have given me an idea for an experiment. I can do something similar with the pentax m42 gear i have already. Of course it wont be quite low light, but a bonfire should make it a bit easier for the pentax 50 1.4 to see
  4. Today
  5. Yes, its the PBC that does the work driving the lens via the camera so it is exactly the same as it is now with the difference being that it translates the distance position from the AF adapter against the calibration points it has for the lenses. What could possibly go wrong
  6. That's good to know then, that it recognises the Sigma 18-35 and makes use of the full 120 focus positions?
  7. For anyone looking to purchase this Zitay - I have had a further look. The output is 10.8V which is within the required range and it is rated at 6800mAH, which is more than enough. It is not 2A. So you get 75Wh - for the 6k that is about 3 hours of run time, and more for the 4k. The current price is 85USD . Some people will appreciate how it mounts and how discrete it is.
  8. Look at this massive hype piece. Jesus.
  9. Andrew Reid

    RED Komodo

    I must say the design is damn sexy. A bit different to the usual C200 type isn't it?!
  10. I am having problems with the jog wheel on my 1DX3 popping every full rotation, so there is a mechanical problem there and so my body is going to have to be returned for a refund and the full review is off for now. Here's my brief first impressions with it - The 4K/60p full frame with DIS is a favourite mode of mine, great for handheld work. The Leica SL2 does full frame 4K/60 as well but only in 8bit Rec.709. Here, it is 10bit LOG. There are not many int. recording 5.5K RAW 60p full frame cameras for $6k around Canon LOG and colour science are as good as ever - but surprised to see no Canon LOG 2 in 10bit mode 10% crop of DIS enabled is very small and yet the stabilisation is surprisingly effective, almost IBIS like. Panning is smooth. When combined with mild slow-mo conforming 60p to 24p, it is going to look very cinematic. The approx. 1.3-1.4x crop mode (depending on UHD or DCI4K) allows you to use the 1DX3 "as advertised" without the stupid issues. You get 4K/60p and Dual Pixel AF, with 16ms rolling shutter. No RAW but at least file sizes are manageable. Downsides? With this mode not being S35 1.5x, your S35 lenses may vignette and you lose the look of those, and corner sharpness too. Using full frame lenses you reduce the look of those too. People forget that 16:9 is already a crop of a full frame sensor vertically. Add on top the 1.35x crop and you are now into a very narrow crop vertically of the full frame image circle, losing the beautiful rendering in the corners. Also, the DSLR EF mount is much less adaptable than mirrorless to lenses designed for S35. So there are no vintage Arriflex or PL beauties on this camera. In 4096 x 2160 aspect ratio 17:9 - the vertical crop is even more, although active sensor area is a bit wider. You can get the extra reach of around 2x crop with DIS on full enhanced mode and 4K in crop mode - but image is soft The DSLR form factor has pros and cons. Brilliant grip and control layout. Fantastic OVF, fantastic for stills. But I do miss articulated screen & EVF. A great shot getter and a great stills camera Here is the bad - 5.5K Canon RAW file sizes are almost unmanageable, especially in 60p. Compatibility is also less than stellar depending on the NLE. 32ms rolling shutter is appalling in the non-60P full frame 4K and 5.5K RAW Disabling Dual Pixel AF in full frame 4K and 5.5K 60p modes seems unnecessary There is a bug which messes up DIS when you switch back and forth between video and stills live-view 3.2" screen feels pokey and small in 2020 on such a big body $6k camera, and it has much more competition than Canon 1D C did back in 2012 And here is the competition people should consider - For full frame 10bit 4K and 5K there is the Leica SL2. The 5K is an anamorphic mode. So that's one over on the 1DX3 already. For 10bit 4K with very good autofocus, there is the Fuji X-T4. Far less rolling shutter and more features. Better ergonomics. IBIS. EVF. Metabones EF Speed Booster expected to have very good AF too (if Fringer EF adapter is any guide) and the camera + adapter is around $4000 cheaper than the 1DX3. The 1DX3 does have the autofocus going for it over the Panasonic cameras, but then it has terrible rolling shutter in these modes. Panasonic - The S1 has a compelling 10bit full frame 4K image, which is every bit the equal of the 1DX3 in my early impressions of it, and Canon's codec. The Canon codec does have a higher bitrate though, and ALL-I. The Panasonic S1H on the other hand, bumps everything up - higher bitrate codec, ALL-I, 6K. This, for 24p, is hard to beat. But it doesn't have the autofocus side that the 1DX3 has and to be honest the 1DX3 body design is much sexier and feels better in the hand, even though it's a DSLR! There is also no fan on the 1DX3 so it's more robust and better weather sealed. In terms of pure cinema... Fuji GFX 100. This maintains the full frame image in 16:9 and 17:9, because with the larger medium format sensor, the active vertical image sensor area is as large as the 1DX3 in 3:2 full frame stills mode. At the left and right frame edges you will get softness or vignetting with certain lenses, but it's about finding the right lenses. So as a "super full frame" 10bit 4K camera the GFX 100 takes some beating. The ergonomics for video are superior to the 1DX3. The autofocus is on-chip phase-detect but doesn't work very well, so this is a 1DX3 advantage once again. However, there is no better manual focus cinema camera in small form factor than the GFX 100. Nothing. Also, the 100MP stills are in a different league to the 1DX3. There is no 4K/60p or 120fps 1080p on the GFX 100, but it may be getting ProRes RAW and a big firmware update. You can get one for around £8300 used. Is it worth £2000 more than the 1DX3? Yes, yes and yes. In terms of just good full frame 4K/24p with good autofocus - there is the Nikon Z6, Sony A7 III and Sony A9. All are pretty cheap these days. So, a lot of competition to the 1DX3 in many aspects of the spec sheet. It is unique in certain ways. A) It is the best DSLR ever made. Nikon D6 does not touch it. It is almost as if Nikon didn't have an answer and re-badged the D5! B) It is much more a video orientated 1D C Mark II than the 1D X II was. Nothing comes closer to the classic 1D C look or handling as a highly video capable DSLR. C) It is the only full frame stills camera that does 10bit 4K/60p and 12bit 5.5K RAW internal recording. Although Panasonic S1H runs it VERY close. D) There is no other full frame 10bit camera on the market with as capable autofocus in video mode E) There is no other camera on the market with 10bit 4K in a DSLR body with OVF Do you need it? Do you need to spend that $6K? Probably not. In terms of cinematic 4K/24/25p 10bit I still believe there are better value for money crop sensor choices out there - X-T4, GH5S, GH5. There are also much cheaper 10bit full frame 4K options from Panasonic - S1 especially, but even buying an S1H is cheaper. All far less rolling shutter too.
  11. i could never be bothered with rage, it clashed with my beauty regime ( you know sleeping 😉 ) plus i only recognize maybe ten tracks, my tastes must differ 😀
  12. Sure, it's possible. The more glass elements, the more likely it is to observe some aberrations, reflections, flares. Even Metabones speedboosters aren't perfect and introduce a tiny bit of their own character into the mix. You'd need to directly compare it with an adapter that has no glass inside.
  13. I do mostly sports/action so not sure is helpful my experience. I use 1Dx III quite a bit on a Ronin S and if I want shallow DOF I use 50 1.2 and 24 1.4 so the mode that I pick is 5.5k 24 or 25 and on a gimbal I never notice the RS. I did track so far Parkour, MTB, Horse, rollerblades and never notice RS issue. If I don't need shallow DOF and/or need wider I use the 16-35 and f5.6 or above so I then switch to 5.5k 60 fps to have slow motion. In case I need both I use 4k 60fps crop. As you have the 1DC the weight size is about the same so you know what it means on a gimbal plus you are used to MF so using 1Dx III 5.5k 50-60 is not an issue for you. The big question is how are the 4k FF 25,60 and 120 modes of the R5... if they are very good I think the R5 is even better than the 1Dx III....... if the FF 4k modes are binned and not super quality then the 1Dx III is better especially if you need 50-60 fps.... R5 advantage over 1Dx III (mostly guesses😞 - less weight - flippy screen (not too helpful on a gimbal but is good to have) - zebra - 8k vs 5.5k - quite cheaper disadvantages: - less battery life - 60fps max out at 4k, if binned it will be less quality too - if it has a 1-1 crop it will be 2x - larger file size in RAW - no RAW > 30 fps - probably no dual card video recording (on 1Dx III the only dual recording mode is when in RAW.... as it does RAW in one card and whatever 4k mode you select on the other (from 8bit h264 to 10 bit h265 LOG). If you are not in a hurry I would wait the first reviews hopefully will be in July .... and if you are undecided maybe rent both....
  14. Please read a sensor specification sheet. In sensor’s specification there is the scan time / fps for every mode, windowed and not. Some they mention in ms some they mention in fps with comma precision eg. 128.21 fps.... go check some sensor specs. Even in single shoot mode the RS stay the same and you have all the time to process the photo buffer. So A9 sensor is more than twice as fast to scan ca 6-7ms than the 1Dx iii ca 16ms. But Canon can process 60 fps almost full res 17:9 where Sony not so an educated guess the processing power of the 1dx iii is > A9 but sensor readout is exactly the inverse.
  15. one of those Handevision IBELUX 40mm f/0.85 Ultra-Fast Portait Lens for Micro 4/3 Mount #E461 sold on ebay a couple of days ago ITEM PRICE: AU $630.13*Converted from US $439.99 for those that might be curious. That ibelux flares weirdly. i was a bit disappointed with the performance of the canon 55 f1.2 but perhaps the diopter or focal reducer or a combination of the two, threw it off a bit do you think ?
  16. Alt Shoo

    RED Komodo

    I’m actually on the email list for the Komodo and should have another correspondence from Jarred next week for the Yellow Komodos. I’m not really excited about it anymore. I’m still very interested in the GFX100 and would rather get that. Still I’m holding off because I think Fuji will release a more “cinema cam” version of the GFX100.
  17. As there is no point re-inventing the wheel it will likely be commercially available focus motors from Nucleus as they have ones for both compact and cine lenses. The way it drives them is the same but the number of positions it can drive too is, quite often, more limited than the native MFT lenses but that is at the EF end. This is why I had to develop the calibration function and database on the PBC when you use it with the Pocket6K as you have a lens like the Canon 50mm 1.4 for example that has around 35 focus positions whereas the Sigma 18-35mm f1.8 has something like 120. The MFT lenses vary too but not quite to the same degree and you at least get feedback from them of the range so its far easier to deal with.
  18. So I’m still in a dilemma about whether to get the 1DXmkiii or wait for the EOS R5. I have a C500mkii and need a gimbal/B cam to match up as close as possible. Currently use my 1DC as gimbal/B cam but need 4K 50fps. Never upgraded to 1DXmkii due to cropped 4K and negligable improvement in image. Same reason didn’t get the EOS R, but do like the smaller size for gimbal. Can live with RS as will primarily use at 50fps on gimbal or 25fps with the DPAF for simple walk and talks or interview B cam. Needs to have good low light for events and fine with no zebras/histogram as use a monitor when on gimbal. Will also use it for time lapse and some photography but nothing like sports. My question is obviously hypothetical, but will the EOS R5 likely outdo the 1DXmkiii for the above needs or is the 1dxmkiii the camera to get. I’ve tried other brands but would prefer to stick with a full frame Canon to match my A cam as much as possible.
  19. I wonder how al these adapters affect the flange distance, as I see some brand adapters are thicker then others for the same mount. Leica-r to EF, contax zeiss to EF. And how to test and change this on slr camera's?
  20. Interesting the spread in the Blackmagic Pocket cameras. Roger is doing great stuff at Lens Rentals. Really admirable.
  21. Is it the same with EF lenses via Metabones adapter? Or does it have a more fine grained focus position with those lenses?
  22. Andrew Reid

    RED Komodo

    Jim is not in charge any more. It's Jarred. I am sure there will be better footage coming soon.
  23. The AF with most EF lenses on X-T4 / Fringer is REALLY good. Very impressed with it. Can use my Sigma 17-70mm F2.8-4 almost like a native Fuji lens. Yes... More GFX Speedboosters would be nice but corners would have to be good. Otherwise, may as well use full frame glass with 1 stop faster aperture for similar look.
  24. Now, for more GFX speedboosters, please. Yeah, my Fringer works good. I have the first version BTW...
  25. Yesterday
  26. I do some product videos using my D5300. When i shoot the footage (1080p at 60fps) I do it with the products placed on a white backdrop which has some subtle branding on it (which looks great when the depth of field means its slightly blurred but the branding is still visible) - I've got a couple of LED lights. I set my D5300 to manual, set the F stop to a decent balanced level and it looks great BUT when I pan left/right beyond the product in frame but more notably when I pan/zoom in and out the exposure increases or decreases ultimately resulting in quite a brightness change of the background. At times the background is completely blown out and others, really dark. Is there any way to set the exposure at a fixed value so it doesn't increase/decrease or is there another way to over come this issue? Would more light from an additional source to light the background work as a fix? Would it be better off doing the product video on a green background (rather than the current white which is obviously reflective) and then use chroma key in post?
  27. I watched the trailer and I did not see any obvious CA so my eyes must not be trained at a high enough level. I think if I wanted a look that was epic I would shoot on the Zeiss Master Anamorphics, or the Panavision lens that Tarantino shot the Hateful 8 on. That said I appreciate the focus on the optics over camera body, I hope this trend will continue. Final note: I have kids and I really enjoyed the cartoon original Mulan. I hope they can beat it because it the original had humor and heart. I wonder who is going to play the Eddy Murphy Muchu role in the live version.
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EOSHD C-LOG and Film Profiles for All Canon DSLRs
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