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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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Great to hear it's working for you. I've long suggested that the cheap Chinese lenses are a lot like the high-end vintage lenses from the SLR film camera days - both had simpler optical designs and simpler coatings. The only challenge is how good the lens is wide open, but if it's enough for your application then you're all good! Same for me. I have saved power grades for each camera that convert from camera colour space to Davincis log space, and a few Timeline power grades that apply a few variations of film emulations. I just pull all the footage into a timeline, apply the power grades, and then adjust exposure on any clips that need it (I use ETTR so this is normal for me) and mostly I'm good. The wider DR of the GH7 and iPhone 17 Pro means that the images are less crunched and therefore respond nicely to a film emulation contrast curve and so need a lot less fussing than the GH5 ones did. I standardised on 58mm filters as that's the largest size that fits most of my lenses. Actually about two thirds of my lenses have that size natively and for the ones I use a lot that don't have that I bought dedicated step-up rings and just have them permanently attached. I have a K&F Concept True Color Variable ND2-32 (1-5 Stops) as my main vND and recently bought a NiSi IR ND8 (3-Stop) fixed ND to stack on it if the 5 stops of the K&F aren't enough (5 stops is enough for full-sun at F5.6 but wider apertures than that will require more). I wanted to just buy a nice 5-9 stop one but I have a Tiffen? 4-stop filter and when I paired that with the 1-5 stop I got all kinds of IR pollution on the iPhone, so I knew that anything more than 5 stops needed IR filtration too, and I couldn't find anything that had it. I had to buy an 82mm one for the front of my Sirui anamorphic adapter, but got a cheaper Neewer 1-5 stop which seems to work ok, although that one I only shot at night and colour fidelity is less important for that stuff. I also bought a few lower-quality 1-9 stop vNDs in specific sizes for when I wanted to keep the lenses as small as possible, so I got a 46mm one for the 14mm F2.5 pancake lens which lives on my GX85, and a 40.5mm one for the 17mm F1.4, which I had thought might be a good low-light lens for the tiny GX85 Super-16 setup but I haven't shot anything with that combo yet. Funny how people end up with similar solutions! -
I’m fortunate that I am all in with L Mount but currently 1 camera body short… One of my S9 ‘B’ cams had an issue mid season and I worked around it with my EDC L10 for a few jobs and despite the quality of the output (it is the GH7 sensor after all!) it’s not suited for my needs. That second S9 was going to cost more to fix than another used one, so I’ve re-purposed it as a photo camera for my daughter. So a camera body short, season over, 6 months to the next one, just sold the L10, the gimbal and 3 lenses and twiddling my thumbs… My ideal is a ZR/FX3 body with the ZR screen on the fully articulated mech of the S1Rii and ideally the sensor from the S1Rii and cheaper than the FX5. Not asking for much then…😂 But seriously, the timing of this could be good for me as though I am considering a different photo camera, I would ideally keep it all in the same system for lenses and batteries and, well everything really. I need either: 4 video units and 1 photo or 3 video units and 2 hybrid (as I currently have less 1 defunct video unit) So I am interested in either a more photo-orientated camera but in a more rangefinderesque body style à la ZR/FX3/FP, or a hybrid in this body style. I don’t much care about the branding so it could be LUMIX, Sigma or DJI, or even Black Magic for photo, but ideally LUMIX for video as baking in my LUT is part of my workflow. I don’t see BM making a stills-orientated camera and I’m not sure LUMIX are going to pop out an FX3 style body just yet so most likely a new Sigma or DJI and of the two, maybe DJI most likely as it has been rumoured for a while? It will be interesting at the very least to see if it meets my needs, but if not, I’ve already got my options planned… I’m going to guess in most likely order: 1. DJI 2. Sigma 3. LUMIX 4. Black Magic 5. Leica -
By John Matthews · Posted
It seems sharp enough for me, easily resolving a 4k image. Remember, I'm only using the sweet spot of that lens. Others have notice vignetting, and corner softness- not the case when using just a fraction of the image circle. However, I notice back-lit subject will have a strong chromatic aberration (purple) at f/1.4, but it goes away at f/2.8. It flares a little too- a bonus for me. The usability is absolutely great though. Thanks. Yes, I really don't have too much time to fuss around with the files- make it look good to my eye and then off to the next one. I just do a few exposure adjustments. I got a whole new set of ND filters. The reason being that I haven't had much luck by using VND's on small/pixel dense sensors. Bad things happened when I put my VND on my old camcorder. In the end, I'm going for 55mm and using step-up rings to get there. Why 55mm? Most of my Konica glass uses that with only a few exceptions. Anyway, I got the K&F Nano-x ND4, 8, 64, and 1000 set. They should do the job and still manage decent quality from a 50MP sensor. -
According to the rumor the L mount camera that will appear this year will be a Sony FX5 competitor. IMHO this camera will come from Panasonic or Blackmagic. Most likely Panasonic as it already has the Nikon Zr, Z6 III sensor in Panasonic S1 II and proved it can get better IQ than Nikon. Plus it has all the exposure tools already available. It seems logical Panasonic to try its luck with FX3/5, Nikon Zr type of camera. The game changing camera will come next year. Until we know what is game changing we can only speculate. Here is my take: Sensors come from 2 companies - Sony and Canon. Canon keeps their sensors for themselves so in practice it is only one company - Sony. It already showed their best sensor in FX5/A7R VI. So we have 2 options left: A. Sigma or Panasonic come with a new type of sensor: Sigma Foveon or Panasonic Organic. IMHO very unlikely in both cases. B. DJI which so far has proven to think and create out of the (Japanese camera tradition) box can come with something interesting. Recently I've leaned that DJI developed electronically controlled ND filter for Mavic 4 Pro which is not yet officially announced but already is selling on ebay and amazon by unknown Chinese sources: https://www.youtube.com/watch?v=WHt0OaxKu4E While not perfect it shows DJI has the potential to come with a camera that solves the ND problem for mirrorless cameras. DJI can come also with better price and user interface both of which company already proved is capable of. Current and previous generation of mirrorless cameras are great so I doubt any of those can tempt me to go back to L Mount. It so good to forget for a while about cameras and lenses and just go and shoot something. 🙂 -
Nice images. Once you get files beyond a certain quality then the film emulation can do the rest. How are you finding the 17mm F1.4? Sharp enough wide open for you? In terms of filter threads, you can get filter-thread-adapters in that size. I bought a tiny vND for mine, which was really cheap because of the small amount of glass required!
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