Leaderboard

All this talk of a bazillion stops of DR, I'm reminded of the minor miracle that these manufacturers have managed to accomplish.. 10 stops of dynamic range means that in comparison to the smallest amount of light they can distinguish, the brightest light it can distinguish is 1024x. That doesn't sound like much, but 12 stops is 4096x, 14 stops is 16384x, and 16 stops would be 65535x!!!! Even the claimed 13 stops for the Pocket 4K is 8192x.. that's huge! We really are spoiled ???

He should get both. C100 to look like a pro in front of clients. Just keep it turned off and use GH5 to do the actual shooting

I simply do not understand the nostalgia here. I shot my senior thesis project on an FS100 and while I got some decent images out of it thanks to the skill of my DP, it always looked very videoish to me. The highlights burned horribly, the colors were oversaturated, and even if you shot it flat, you could never quite bring it back to the way you want it in post. Also, the form factor and ergonomics were some of the worst I have ever seen, the placement of the LCD screen on top was ludicrous, and the lack of NDs (thankfully rectified in the FS700) made screw-ons or matteboxes a necessity, which is difficult on a zero-budget. It was Sony's first go at making a prosumer large-sensor camera (after the F3 which came out at the same time), and their lack of common sense and feel for camera design just wasn't there, despite their long history in making video equipment. My C100 mk. I(same era, same price-range) eats it for lunch in every possible way. Image quality, roll-off, NDs, hand-holdable ergonomics, etc.

Hello. I recently purchased a pre-36 from a user on here, and used it for a project; a promo for an arts fair, held on the kubrick estate every year. Hope you like it !

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa. Pretty amazing to me. Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot. The style these days is use what already exists, and augment the lighting, and use grip to subtract light. Subtracting light. Before ASA 800, when many of us were shooting at around 200 ASA, you would add light. Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. Toppers, cutters, siders, eggcrates. But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera. The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight. We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again. Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest. It was easier to do, since there were less stands to place on the ground and less rigging to do. Grip takes up a lot of space and stands. Lights - not as much. And we ended up making the bar more interesting than what it was - we transformed it. (I'll post videos and stills once the spots are released. It was putting on a different brain from an earlier era - cause we had to move a different way. And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again. That color of a tungsten fresnel - it has a golden warmth to it. Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls. To rediscover those old tungsten fresnel units, that was also important to me. These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

I will shortly be attending a screening of 3 faces, a film by iranian auteur jafar panahi. You might have heard of him, perhaps not, but he is the chap that is banned from making movies in his native Iran. He has made movies since his ban, Taxi Tehran, winning the golden bear in berlin. And 3 faces premiered in cannes. I am intrigued by his situation because not unlike most of us he has to make do with what he has - certainly, he has the added benefit of a well-known name and the added benefits that comes with that. However, by reason of circumstance, perhaps more so than budget, he has to make do with the tools he has at his disposal. This meant for Taxi Tehran using the blackmagic pocket cinema camera. Most recently, for 3 faces, he uses the cameras and lenses referred to in the title. I will have the added benefit of seeing what these cameras look like on the big screen which is nice, though on the trailer they don't look too good. However, that is not my point, my post is simply made to inspire anyone out there feeling constrained but what they can or can't afford.

@DBounce do you have an external recorder that accepts SDI input? It is my understanding that the C200 downscales and exports a 10bit DCI 2K feed of the Raw video through SDI, I’d be curious to know how well that works. I believe it will also internally record Raw at the same time. It could be a great way to get some beautiful ProRes footage with less data rates.

Cheers ! I actually only used the Nikon Pancake 50 1.8, with a variety of cheap diopters.

Dang, good idea, and I already have a K-1 in storage.

As someone who regularly shoots vertical photos, I don't mind this at all.

Ah, the old GoPro inside an old shoulder mount ENG camera routine

Dynamic range is also determined by the grade and how tolerant you are to noisy shadows, weird colour and iffy highlight roll off. I would take a LOOK over a NUMBER any day.

The notion of anyone from a camera company trying to play the heavy is somewhat ludicrous to me but is a testament to how hysterical some people now get about cameras. In all honesty, if that had have been me then I'd have given the Hasselblad rep an opportunity to evaluate the low light performance of that camera by shoving it up his arse.

Ultimately I think Oliver should consider versatility; he'd cover pretty much every base with the EVA1, GH5S, and GH5, with auto focus being the only thing he can't really make up for. His options are pretty much limitless when his 'b' and 'c' cams would have features that aren't too far off from his 'a' cam and could easily be swapped in and used for a lot of the work he is going to be doing.

There's no link. One is somebody with his own blog, who gets to choose who he reads daily on the forum, and if it's bullshit he reads daily, he gets bored and fed up of it and then chooses to delete said bullshit and the person responsible The other is a film director with free-speech, who made appalling jokes on Twitter 10 years ago, in the guise of an Troma-style provocative act, then is witch-hunted 10 years later by a right-wing conspiracy theorist who raped his wife, and whom gets a man of good character and great talent sacked unfairly.

90% of this forum probably want Kidz, Squig, Axel, JCS and Damphouse reinstated, doesn’t mean it will happen.

It does look like the knee-jerk reactionary "House of Mouse" execs will have to eat their words. He has broad public support as well. Pretty much 90% of the internet seems to want Gunn reinstated, with a lot of high profile sites running positive articles about him and the vast majority of the Reddit comments being along the lines of positive support, not of his tasteless jokes, but of the man himself. Which makes the vastly more angry and negative response on the EOSHD forums even more hard to comprehend.

I own both cameras and in the real world the D850 4k is the better looking - Fewer instances of moire patterns in full frame 4K pixel binned mode - A bit more fine detail on the D850 4K pixel binned mode - Both have similarly perfect S35 4K from oversampling 5K crop - Thicker files on D850, higher bitrate codec - Better colour on D850 Both have some aliasing in the full frame 4K mode. The DPR chart you point to doesn't really prove whatever your point is... The D850 shows some advantages on there as well. It's only the purple false colour on the extremes of the chart you might be picking up on as a weakness but since you don't say, it's hard to know. In those places on the chart the A7R III is showing extreme aliasing, moire patterns and garbled details. The fine text is also more natural looking on the Nikon output and the instances of moire are fewer.

This is why smartphone cameras should use a square sensor. Then no matter which way you hold the damn thing, it can do landscape 16:9 video with same horizontal field of view. Phones are easier to hold in portrait so you can't blame the general public for using them that way round

I don’t think you guys get it. From a TV drama point of view there is little appetite for RAW. No one wants it aside from a DP maybe. It doesn’t matter if you think it’s better or the workflow can be worked around. DP’s don’t really get to make this choice alone you realise ? And most productions want multiple cameras. Lets imagine Mavo. If I wanted to shoot Mavo on the show I’m on now I’d have to convince a rental company to get 8 bodies and kit them out. Tell me a rental company that will do that and then get a couple of spares as backup. in fact show me any rental company anywhere I can get 8 kinefinity anything cameras from... I’d have to convince a director of the creative reasons, and SHOW it was better. I’d have to convince a studio that hates varying anything from the templates of how they do things. It’s not going to happen. You don’t understand how it works and the theorising over specs without actually referencing the pragmatic reality is just playground taunting. These cameras are in fringe for many reasons. The pictures are only part of that story. (And yeah I’m talking about the C200 as much as Mavo) JB

omg

I won't judge you for your taste in porn

Here is mine, still working on how to get ND's filters. Not easy finding a cheaper mattbox that supports a 153mm rear opening. Any suggestions from any one who has rigged up a foton-A would be appreciated.

I use the PL15/f1.7 and the Laowa 7.5/f2 (and the 45-175 zoom) with my GX80 as a very small travel package. All lenses have the same 46mm filter size, so I used the same step-up to my 58mm NDs. On the Laowa, I get some obvious vignetting due to my filters and magnetic adaptors - will look at that for next time. I have an example when I'm walking with the 7.5mm using the GX80 IBIS - I was carrying a lot of beach stuff and probably could do better. Here are some unedited (4k 25fps 1/50s shutter, AWB) screen grabs shooting Cine-D from the 15mm (first 4) and 7.5mm (second 4).

thanks for all the comments guys, here some more from the same place (but adult event):

Sorry for your loss Mr E. Hope you have fond memories of him. I will lock this thread now out of respect to you and to avoid any possible troll comments.

I am sorry for your loss.

My condolences. As much as I like all the ins and outs of camera gear, the best footage is the stuff with our loved ones in it.

My condolences

Last time I checked Canon said they would sue ML if they tried to release more builds hence why there's been nothing for the 80D, 5Dmk4, and 1DXMK2. Canon still wants you to spend $7K (C200) for good video features.

I used to use Pentax as my main system and have had a few FD lenses too. Most of those lenses have gone but I still have a couple of FDs and K and M42 mount lenses. They were certainly different for the most part. FD 50 1.2 L was my favourite normal lens (until I got the FE Sony Zeiss 55 1.8) but my Pentax 50 1.2 k was another I loved but they were very different (sold the FD and tossed the Pentax when it fell to bits from overuse) and both would have been fairly similar in age I think. I might see if I can shoot my ancient Promura 28 2.8 in m42 mount against my ancient EF 20-35 2.8 L at 28mm and then the 20-35 against my also ancient FD 24 1.4 L at 24 2.8. I am not even sure if the Promura has any coating or maybe a single coating

and here is a complete work (some art event deep inside russian territory):

I've been trying to shy away from controversial opinions, and this isn't going to help. Apologies in advance–everyone's opinion is there own. But what do people make of this test: (Forgive me if it's already been posted.) Am I the only one who prefers the C100's colors? (And thinks the +5 sharpening on the C200 looks terrible (like video)?) C200 still looks great. Fwiw, I also prefer the C500's skin rendering to the Alexa's (see Shane Hurlbut's tests to get an idea what I mean). And the C200 looks like it's trying to be an Alexa-style camera in terms of look (just like the FS7), so no surprise. The C300 had darker skin tones, it exposed that color less brightly and more warm yellow less magenta. Just wondering if I'm crazy. What do others think? I might have a bias. But the C100 color looks so much better to me at 3:30 and the sharpness is not night and day. Deciding between these two for a shoot... well, maybe or maybe not. Just thinking about it now. I'm normally a 4k naysayer (I like soft, for me JFK and War of the Worlds–very soft looking images are my favorite, but I know that's passé, but I did think Black Panther was sharp enough despite the 2k DCP) but now I'm thinking why don't I try something new.