Andrew Reid

That is incredibly soft.

I don't know of any successful long established camera system that doesn't have a range of third party accessories and lenses for it. So for Canon to be blocking this, and presumably companies like Sigma as well, shows they are prepared to harm their own ecosystem in order to protect the rip off pricing of their native lenses. It really just boils down to that. I am glad you like your 70-200 though

For me it makes no sense to compare a prime to a zoom! Of course a 16mm prime is going to perform better than an old zoom that was never even that amazing to begin with. The old EF 35mm F2.0 is better for a start! AF is internal, stepping motor. The RF 35mm f1.8 has a front element that moves! I found it to be one of the worst mechanical designs and noisiest lenses I've ever used on any system. Also one of the most plasticy. Also had the RF 50 1.2 and preferred the old EF lens. It has more character. No, it isn't as sharp. But it looks far less clinical. I also hated how the RF 50 1.2 picked up marks from the finger like a magnet. It has that horrible super-fine texture that just gets ingrained with dirt. You have to handle it like a lab techie. 17K is not exactly cheap is it. In fact $2500 for the 50mm 1.2 is completely nuts. For a lens that probably costs $200 max to make.

The Canon RF lenses are a big turn off for me. On E-mount there is more choice of native lenses. Sigma to name just one. Similarly with L-mount there are many ways into the system. The native Canon RF lenses are almost all massively expensive and enormously heavy, and not a single one is really much better than the EF equivalent it replaces. In fact if it wasn't for the popularity and dominance of EF & some very good adapters, I dare say Canon wouldn't have sold quite so many camera bodies. However they have always been a lenses company first and foremost, it's where the big profit margins are. It's just that they prefer to line the pockets of their shareholders, through us, whereas Sigma prefer to focus on engineering better lenses than Canon at half the price. Different company philosophies.

What about adapters with electronic connections, also banned by Canon? They are a very litigious company.

Maybe they just don't have the resolving power for 30 megapixels? So when you view it close up 1:1, you see more of the softness of the lens than you would on the A7.

It looks pretty good for an F1.2 lens at F1.4 Obviously would be much crisper at F2.8 or 5.6 I wouldn't have it any other way - don't like cuttingly sharp digital images. It's very un-cinematic. Which is the Minolta that showed the poor result on the A7 IV on other page even when stopped down?

How is the C70 mojo vs 1D C Dave? Just as good, maybe even better? Or does the 1D C still hold up pretty well

Well here is my test with the A7 IV Original RAWs are here: https://we.tl/t-6sae7A5zAH I compared it to the S1R. Same lens, Canon FD 50mm F1.2L @ F1.4 The A7 IV does look a little bit more veiled. Ignoring the difference between 30MP and 47MP, there is definitely a fraction more softness but it doesn't seem as soft as your tests above.

Yeah, the only problem I have with using custom modes is whenever I change something it reverts to the preset settings whenever I exit and re-enter that mode. So having to dive in and save the new changes every time you tweak a setting is a bit annoying. The good thing with the 5K is that it has a dedicated codec setting (MOV) and the full frame 4K/60 is MP4. So tapping between those two (ignoring AVCHD of course!) on the function button I found the quickest way to toggle between them!

Well one is 4:3 and Super 35mm The other is open gate 3:2 full frame. Other than that, both very nice. Dynamic range is better on the S1 in 6K due to V-LOG. I feel the 5K on S1R has more to differentiate it from other cameras, and the different sensor gives a certain mojo and colour science. I am familiar with the 5K S35 before as Leica SL2 did it too. That was an absolutely fantastic camera but it had the power issues in video mode and lack of articulated screen plus it cost 5 grand. No such drawbacks on the S1R for £1500. The S1 can indeed use the full sensor with no crop but for me there is more to play with on the S1R. I think audience will notice if you conform 60p or 48p to 24p for dramatic effect where warranted. Whereas the 6K 3:2 mode on S1 either looks nigh on the same as the 4K unless pixel peeping it, or needs an anamorphic to get the most out of the 3:2.

Yes HLG works in 5K 10bit. HLG needs 10bit. So it doesn't work in the 8bit 4K modes. Bit rate is 200Mbit in H.265, so rather good. That compares to just 75Mbit on the OM-1 in 10bit. 200mbit is a good sweet spot for me as 400Mbit I find to be a bit on the large side in terms of file sizes. I have configured the lever on the front of the camera to switch between Rec.709 and HLG. Which is quite fun. The way it works is whenever I need extra DR in 5K I just flick that lever. Boom. And when you don't feel you need it and can't be arsed to grade the HLG, flick it back again and your originally selected picture profile is re-enabled automatically. Meanwhile on a button near the shutter release I have made it a one tap to go between full frame 4K 60fps and S35 5K 10bit. So all these unusual options triggered within a second during the action, rather than diving into menus for them. The only thing that takes a bit of menu diving is the Super 16mm pixel-pixel crop mode. As for rationale for selling S1... Which is a very good tool... Well with S1R I was wanting something a bit different. My S1 has been great but I mainly see it as a full frame 10bit 4K/24p camera or the 6K mode which gives you rather similar end result, and so it doesn't have the same variety of creative purposes. The S1R has the resolution to do that unusual 4:3 5K mode and Super 16mm crop 4K. I also like that it is 4K/60fps full frame and would take 60fps over 10bit creatively speaking. The other thing with the S1 is that now the EOS R5 is working more reliably and I have the Sony A7 IV, my full frame 10bit 4K needs are covered - with the Sony handling 60fps and the R5 120fps whereas S1 maxes out at 30fps. Also on the stills side I prefer the sensor of the S1R to the S1, it has more mojo and a lot more resolution. Undoubtedly the S1 in V-LOG has better dynamic range though but I am not a dynamic range fetish person. I like to see a strong contrast in my end result and shoot in a what-you-see-is-what-you-get fashion. This way I get to experiment in the moment. Does a bright area look better if you let it bloom outward, or should you box it in, preserve the detail there, and darken the other areas of the shot? I find it is always more fun to make that decision during the shoot rather than in an endless post production nightmare divorced from what you felt during the actual shoot, which also has other impact of distracting you from editing! With S1R I feel like I have the best camera for manual focus glass, along with the Fp-L. With Sony E-mount and Canon R5 I feel those have all the AF lenses covered. They are not as much fun to use as the S1R though. The Fp-L also has that uniqueness about it, which more formulaic and generic mainstream cameras lack. The Cinema DNG feature, the extensive 4K crop modes, the tiny form factor, articulated tilt-EVF and external SSD support. There is no point me duplicating over and over again other high-end do it all cameras like the R5. I need creative features and different mojos! Undoubtably though, if you just want full frame 10bit that new 6K mode on the S1 with V-LOG is a total bargain for what it sells for used.

As the DR guide covers, it might be a hardware decoding issue with the codec.

It is important to have a nice smooth roll off to overexposed areas of a shot. Even with the new Alexa which has endless dynamic range, sometimes you want to blow stuff out simply because it looks better or a large amount of detail in, say, a window distracts from the overall shot. I will make this available for free for a few hours for anyone to try https://www.eoshd.com/uploads/private/customerlinks/03062021/EOSHD_DREnhance140621.zip Give it a go on the R7 footage and see if you get a smoother roll off, as it could be all about clipping too early in the NLE / OS.

Interesting technique https://ymcinema.com/2022/08/17/shooting-anamorphic-on-vertical-sensor/ Get that "Passing" look on your 3:4 S1R 5K or S1H without cropping.

The reason they work well on the Z6 is it has one of the thinnest filter stack on a full frame digital camera. The thinner that glass, the better for old lenses.

S1R is like a different camera to when it came out. Here's what I like so far. The 10bit 5K does indeed have enormous mojo. Almost worth not bothering with full frame for! For anamorphic shooting it is seriously nice as it is 4:3. For normal shooting, a nice easy crop in post to whatever aspect ratio you like. It is crisp as heck. Colour is stunning. Particularly in the Neutral profile, it reminds me of the similar 5K mode on the similar Leica SL2 for 5 grand! Low light is far better than expected. Dual gain sensor. ISO 12,800 perfectly usable. ISO 3200 and 6400 very clean. I have included some sample clips shot in full frame 4K 8bit and 5K 10bit at 12,800 and 6400. https://we.tl/t-baorfLanyd Quick toggle between 4K FF / 5K S35. It can be assigned to a button, which you can press to instantly go between 8bit MP4 mode (full frame) and 10bit MOV mode (S35). Very handy for that second tighter framing in 5K or to go from 4K/60p to 5K/24p and so on. Colour science. I really like it. I put it at top. Canon move over. CFExpress slot. Was XQD. With new firmware now it is CFExpress and takes same fast card as my EOS R5 does. IBIS - seems to have the best performing IBIS I've yet seen although was to be expected coming from S1. AF in stills mode (with L-mount lenses) - it is MASSIVE improvement on S1 and earlier firmwares. Not just fast but reliable too now. In video mode yet to try it but not expecting it to be as good for movies EVF - it is larger than EOS R5 to my eye, just all round better. Back screen - Never felt so confident manually focusing without punching in or activating peaking! 65:24 mode and L.Monochrome mode = XPAN style 9K stills shooting 🙂 All in all, I think it is more unique than S1 and a total bargain for £1500. The S1 doesn't have the 5K, isn't as good in S35, cannot do full frame 4K/60p and doesn't have a pixel-to-pixel crop mode for Super 16mm c-mount lenses. On the stills side the S1R has a superior sensor, much higher resolution and better AF. The only thing I might miss is V-LOG but the S1R's Flat profile seems to have very good DR for my needs and is much easier to grade. There is also CineLikeD and Hybrid LOG Gamma. The S1R is two steps... an E-Mount and Good AF away... from being 99% of people's go to mirrorless camera. E-mount there is no denying is just far more established and AF too important to compromise on for most people's needs. But for me, in that beautiful 5K mode with a bunch of manual lenses, it is perfect and different to a whole host of identikit camera bodies. (S1 will be on eBay tomorrow if anyone wants it!) It is also a Leica SL2 killer! FOOTNOTE: I am rocking the Fotidiox Leica Killing adapter with built in variable ND. It is EF mount so quite versatile. Takes M42 stuff and Contax Zeiss for instance. The electronic side works as well although you can pretty much forget about reliable AF! And before you say "but whattabout R5" that doesn't do 5K S35 anamorphic or Super 16mm crop and costs rather a lot more!

Strange I wonder whether any of us see colour and contrast the same way. It looks fine on my MacBook Pro m1 screen which is best screen I've ever used. I was looking at some Digital Bolex clips and it really looks very similar to the skin tones in that.

Just keeping the E-M1 X, original plan was to upgrade but have to be careful with the finances at the moment. I like the E-M1 X pro body design and in the hand feel, a really solid camera that can take some rough and tumble. OM-1 is great but just didn't quite do enough better to make it worth selling the E-M1 X especially as E-M1 X only goes for about £850 used now, so over £1000 cost difference after selling it. I also still have GH6 on loan from Panasonic and that does more than both of them 🙂

Ah missed your post on previous page, I see it now.

Do you mean hypothetically or there is this actual app X which does it. I have never heard of any software that can take ProRes RAW and convert it to CDNG.

You can convert ProRes RAW to Cinema DNG? It's already debayered.

Cinema DNG still looks and grades better than BRAW and ProRes RAW for me, which look like glorified ProRes 🙂

@FHDcrewThink please about being more economical with posts, 3 separate posts one with an eBay link, then another one with an eBay photo and then yet another saying "crazy good deal" - it can all be put into a much smaller space within just one post. Thanks. I am selling my own F5 at the moment in the UK. £2225 https://www.ebay.co.uk/itm/125465850228?hash=item1d3658f174:g:rLgAAOSwqrli-sZL I'd point people to that before some unknown seller.

Surely last thing you want for skin is a ton of contrast and definition exaggerating blemishes and uneven tones.