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  2. Hi everybody! last thing I publish with GH5 Alexa. https://youtu.be/mFdDYp4pgrU
  3. GH5s with IBIS and raw output, PLUS the full version of V-Log. That's all I ask!
  4. can you tell me what hand strap this is? thanks!
  5. The first company that gives me a Full Frame sensor in a camera with built in ND, XLR, and a good codec (10-bit 4:2:2) will get my money. The EVA-1 in L-mount with a full frame sensor would be awesome. The EOS mount on the EVA-1 (without the magic Canon AF) killed the camera for me. Also, never bet against Sony. The FS5 and the FS5 II both have had huge price drops recently. Would love to see a FS5 Mark III with the sensor from the A7III and their Venice colour. Hell even a FS5 with 10-bit and 4K 60p would win me over.
  6. Today
  7. Yeah but when you have shit like this from China, the hell with them. A 40% Tariff on American cars imported to China, Get real. Is the United States just suppose to sit here and do nothing? There is 2 sides to every story. China is trying to make it so Nobody can Import anything to them, and expect everyone to buy their shit. Plenty of room and people in this country to build anything we need, just like we did 50 years ago. Let them eat cake. https://www.reuters.com/article/us-tesla-china/tesla-begins-sales-of-cheaper-model-3-car-variant-in-china-idUSKCN1PQ40F
  8. Shot this one with my X-T3 in April. I was happy with my Samsung NX1, but X-T3 is way better (except battery and grip). Filmed with anamorphic lens Bolex Moller 16/32/1.5x.
  9. https://www.ebay.com/itm/153490430678 86mm thread, a perfect fit for HCDNA, strength of +0.75, +1.25. Ship to USA only.
  10. Exactly, some of you guys should keep their knickers on. No need to freak out about this stuff...
  11. Ok this is interesting! How, where, when and how much? Still in love with the Production cameras image and constantly hover it on classifieds. Seriously cheap these days. It says €499. I see it sitting in an URSA as well. Does it work in other EF cameras (non BMD) as well?
  12. Meanwhile in "free" USA: https://www.engadget.com/2019/05/22/amazon-facial-recognition-law-enforcement-shareholders-climate-change/
  13. Had one E-M5 MK II, but when shooting concerts it was my stills camera. Once tried with the 1.x firmware, and did not like the footage. But prior to return it to Olympus (the authorized service here literally destroyed the camera trying to fix a...bad EVF sensor), made a quick test with the firmware that improved the video modes and it was MUCH better. But the E-M10 MK III is even better.
  14. To justify something more expensive, it just has to have all the intangibles and workflow features that hybrid cameras just don't have: internal NDs, great audio, timecode, ProRes or compressed raw, etc - that's the only thing I can think of. Image quality is pretty amazing on so many cameras from $1000+, that it is no longer the determining factor - though, the S1 image is quite a bit nicer than the A7III, EOS R, and GH5, so that helps.
  15. If Panasonic goes over $5k on a Lumix camcorder, I would have to wonder if they are planning to quietly ditch the EVA line.
  16. It could be S1-S that's price around $4-6K and offer the whole sha bang or a new GH6 with L mount.
  17. I think image quality is already so good in 10bit on the S1 for $2k... They will have to do something different with the Cinema version for it to justify greater cost. If you pixel peep this frame from my S1 for example it's hard to see where what exactly is so bad about it that we need a $6000 version!
  18. One rumor says it is "built like a tank," so I would think they are following their S1 mode of creating true professional tools. I'm all for that. But definitely a fan of small-ish form factors (FS5/EVA) over something like Ursa Mini Pro or FS7. It is difficult to figure out where and how this will fit in the Panasonic lineup without hurting the EVA-1 or Varicam LT. Maybe Panasonic has decided it is better to have one massive hit and cannibalize yourself rather than wait for someone else to do it...
  19. I can only do it sometime tomorrow. It's easy to test though. Shoot a color chart or something with reds, export a frame from Resolve, and do another export with ffmpeg like this: ffmpeg -i input.mov -vframes 1 output.tif Then compare output.tif with the frame coming from Resolve. If they look identical, the issue is fixed.
  20. The S1 is getting 10bit 422 V-LOG at high bitrates, like an EVA-1... The full V-LOG not V-LOG-L like GH5. So if the "Cinema Lumix" is going to be an S series camera in same mould as the S1, why would Panasonic give you that on the cheap body? It leaves even less room for a "cinema" version of the S1. I suspect the Cinema Lumix camera will be in region of $6K for 6K and more likely in an EVA style form factor.
  21. I'm very curious (and excited!) about what this will be, what it will look like, and where it will fit in Panasonic's lineup. If it is just an S1-C (cinema) with minor upgrades, that would be a bummer. However, if they could add internal NDs, I'm all in right away. Surely they'll add at least the higher-end codecs and All-I of the GH5, but that alone wouldn't excite me much. I tend to use the 10-bit 150mbps on the GH5 more often anyway for space reasons (and the S1 is already getting that with full V-Log). And, as Andrew noted, the H265 already on the camera is excellent. So, I would think this camera would have to be something quite a bit more to be appealing - hoping for a FS5-sized full frame camera or an XC-15 style camera. Internal NDs, IBIS, 120fps in 4K, and an efficient raw codec (please BM Raw and not ProRes Raw), are all high on my wish list. I just hope it's more of an FS5/EVA-1 form factor (or smaller, more LUMIX-y) and not a FS7 shoulder cam. -- Also excited that they'll have a working DP talking about her experience using it at CineGear, which may mean it is closer to being ready to roll than the GH5, EVA-1, or S1 were when they were announced (all announced with just basic details to sit there for 3-5 months).
  22. yep. but how to be sure ? anyone skilled enough to test it ?
  23. thephoenix

    Lenses

    new still from my new film i am working on. no grading yet. xt3 and tamron 24-70 g2
  24. This is going to be the S - series cinema camera. It's a L mount lens push that bridges the gap. Think GH5 features in the S1 body with L mount glass. All this is FF and gives Panasonic the road map to go FF cinema camera next to the EVA in the future. Panasonic is smart. They see cine shooters won't go wit the S1 because of features but don't won't to limit L-glass just to the S1 series. I told you the road map for cine cameras was full frame. This is from Hollywood and not my take on Nikon. This is also a great move because you get the cine features you were talking about along side the hybrid camera body. This is kinda out doing what BMP4K has done. Cine is not going m4/3 and moving backwards. How dose the Z6 compare to the S1 in 10 bit performance and how do you think 12bit RAW on the Z6 will look? I actually love what Panasonic is doing on with the S1 and hopefully this new cine please will be in this product line.
  25. Yeah, but even still, I think you'd be better off with one of the smaller sleds that take 1 battery. That way you can just have 3 on rotation and shoot all day long. 1 charging, 1 charged and 1 on the camera. Thanks for the info!
  26. I am very impressed with the 10bit H.265 codec in the S1. It looks laughable because of the small file sizes and bitrate (72mbit H.265 = 144mbit H.264) but actually it's surprisingly close to the look of ProRes on my BMPC4K. It also looks less compressed than Sony's 100Mbit codec and more in keeping with a good 140Mbit H.265 4K file... That is close to 10bit ProRes Proxy in terms of the compression (Proxy is 150Mbit in 4K 25p)... But as it's not an ALL-I codec, it doesn't need as high a bitrate to look as good. Try it, and you will be surprised. S1 beats the BMPC4K for sensor size and lowlight... not to mention powering the damn thing... and all the extra stuff you get like the massive high res EVF and 5 axis IBIS.
  27. Thanks! I agree - the GHa lut seems to already play really nice with the P4k...the main workaround right now is in the highlights, since the p4k has more dynamic range, you have to bring down highlights before the lut.
  1. Load more activity
EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color 3.0 for Sony cameras
EOSHD Pro LOG for Sony cameras
EOSHD 5D Mark III 3.5K RAW Shooter's Guide


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