ntblowz

My bad! It's not a set of Panavision lenses we're currently using, it's Cooke Anamorphics:

Possibly because it kind of demonstrates that one of the least most important components of movie making is the camera itself?
Beyond a certain point. 
I’m sure they were not using the f4-5.6 kit lens but some 20k$ cine lenses and maybe less than in some other productions, but whatever lighting etc was needed.
We know that even just in commercial jobs, the type of camera you have can get you or at least deny you, the job.
’Average’ tool in skilled hands etc…
In terms of sensor though, just how far off a Venice is that of the FX3? Barely anything.

Sony FX3, Atlas Mercury and P+S Technik Evolution Lenses (source: IMDB)
recorded on a Ninja V. other bits here: https://www.provideocoalition.com/did-the-creator-use-the-sony-fx3-as-an-a-camera/
 
From trailer it seems all the movie has a extensive VFX work.
 
From what I understand in my ignorance:
- the camera is the least of the costs in a large production/blockbuster.
- It is not the camera that makes the look of the film but the lenses.
- In a big production, where a serious DOP can afford to give vent to his fantasies about lighting, the technical characteristics of a camera are less important.
Ultimately, if Fraser/Edwards chose this camera, it is more because of their fixation on being minimalist as pointed out in the opening article.
About minimalism.... I still remember in 2009 when Howard Hall first took an IMAX camera underwater for the documentary Under the Sea. Minimalist to the point 🤣
 

Those lens are 'only' 10k each. Probably makes a difference 😉

I think they got quite right, people that can afford expensive glass will go buy them at premium and sell their EF ones that allow people with less budget to get great lenses. The sport example is a good one just look how affordable a EF 200-400 1.4x has become..

Would you buy a mid range RF 85 1.4 or a cheaper used EF 85 1.2? Would you buy a mid range RF 24-70 F4 when you can get a cheaper used EF 24-70 II 2.8?

Most of the people criticizing RF lenses they don't own them, is funny to observe. 

I sold my EF 24-70 II 2.8, EF 50 1.2, RF 35 1.8 (btw very good lens for the price) and EF 24 1.4 for a RF 28-70 2.0, one of the best decision ever, but this also allowed people to get really good EF lens cheaper.
If the EF lens support would not be as good as it is on the R cameras, I would agree but they mostly work better than on DSLR.... so plenty of good options and some gets cheaper and cheaper, it is a good thing for people with limited budget.

Instead of a third camera maybe just get iPhone 15 instead 🤔 

I think I understand where @IronFilm is coming from - the advantage of a larger body is that you get dedicated buttons and other things that are useful on set.  Think about it, if there was no use for something then they wouldn't add it to the camera, regardless of how large they were allowed to make it.
On a controlled set you'd imagine that they'd have a proper cinema lens with remote follow-focus etc attached, matte box, v-mount power, monitor, and the whole thing would be rigged appropriately.  By the time you add all that then the difference between an FX3 and FX6 is maybe only an extra 25% to the size of the whole rig.

The article did say for big scene there is still a lot of crew, and down to 2 if that is all they need.
I guess we will know more once the movie is released? Maybe he chose fx3 cause it look more like standard camera than cinema camera who knows.

Dealing in coke is the way to go to able to afford cooke 
 

Didn't think this would work at first.

Turns out it does, and then some!
The 9.5K sensor in this thing has enough left over for 4.8K in 2x crop mode
The Ultra HD is oversampled from this 4.8K and we have our nice looking Cinema DNG internal to SD card. Something the Micro Four Thirds cameras can't do.
So it is basically a Digital Bolex at this point.
Frame grab:

The form factor is also perfect for these lenses being so small.
It feels balanced as a Super 16mm handheld candid camera.
It has one over on the Sony a1 for c-mount as well... The 2x crop is sticky, between Cine and Stills, and is remembered every time you turn it on. Whereas the Sony clear image zoom keeps getting reset when you power down or switch modes.
So yeah, I think my Digital Bolex D16 itch has finally been scratched!!
It's also perfect for bunny pics

For ages they had the mirrorless market to themselves.
Now Canon DSLRs are finally dead, the mirrorless market has a new leader
https://www.eoshd.com/news/how-panasonic-and-sony-let-canon-steal-the-mirrorless-camera-lead/
Canon!
I take a look at how this happened.

https://ca.movies.yahoo.com/rogue-one-godzilla-gareth-edwards-201500503.html
That was an interesting read about how he go back the indie root of film making.
I totally agree about the huge bloated cost of blockbuster now, and the cgi still look crap.

Talking about the X-S20 itself - since I was a CDAF m43 user before (my first 2 PDAF cameras were the X-T20 and the X-S10), I could be easily impressed, but I'm liking a lot the camera. Must confess, more than I expected.

Was in a music festival this weekend. First test (and one of the reasons that compactness and discreetion are top priorities for me): festival stated that "professional cameras" are forbidden. Attached the 55-200mm on the camera, facing down the ThinkTank bag, only the back of the camera visible. Security saw the size of the camera, did not even bother to ask to take a look. 🙂

Shooting music festivals is a scenario that I'm used to - but, again, using m43 cameras. Always got good results, once even was published on the official Franz Ferdinand instagram channel. Face detection with m43 usually could not detect the face from distance, but single point usually worked, and with low light and bad stage lighting I usually switch to manual focus, focus on the mic stand, put the focus a touch farther and get good sharp photos.

The X-S20 not only got the faces all the time, but 90% of the time, find the eye of the subject, at 200mm, even with the singer occupying half the frame. With daylight and stage lighting. Never had so many keepers in a concert. And one of the singers and the festival channel already published some of the photos. 🙂

It is another league from the X-S10.

Made two videos, but since I recorded in 6.2k 10bit 4:2:2, will need to work with proxies, and I'm still a beginner in Resolve, will need some spare time. Tested with the internal mics in Auto level, could see that the bass is distorted, was a experiment to see the levels needed, but apart from that the sound was good for internal mics (much better than all my GXs and the FZ1000). AF again was getting the eyes 100% of the time, will see the precision at the footage.

Still have to test it more, but my doubts about having to go to Sony to get good AF were killed. From the tests that I saw with screen recorders with the A7CII, A6700 and some other cameras, I see minimal differences. For me, ths one looks like a keeper.

In fact, I was expecting that the fan would not make ANY difference, hence it is a plus. And since a tiny fan could make this improvement, for sure the cheaper Aliexpress versions would perform the same or better, which is good news.

Call me impressed, the little thing works.

Could not reproduce exactly the same conditions - the sun moved and I had to transfer the camera to the window around the 20 mins mark, hence it had a little bit of more air. But was under the sun, became very hot as before.

The Ulanzi fan was used on full speed. If the footage is long, good idea to use it plugged on a power bank / USB charger, with 25 mins the internal battery was around 50% (then I plugged it in). 

The yellow warning appeared on the 25 min mark, and the red around 33. And the camera never shutdown until the 128gb card is full, on the 46 minute mark.

The integrated temperature meter was kinda useless - yellow on the 39oc, red on the 42oC. 

Another bad thing - even with the back film applied, the suction cups do not work very well; pressed the fan a bit to stick from time to time. Needs some "baby caring" in a tripod, and for run and gun it will fall for sure. In the Fujifilms, I would mod it to use the srews that the camera have.

To summarize, it works for tripod use, even a bit better than I expected. But have some caveats.

Would they do a Canon where the OG C100 shipped without dual pixel AF enabled, later you can send in to get it enabled.

Kinsons seems to be a very sympathetic fellow, encouraging proper tests of DR and in this interview he really stresses the dual gain conversion of this sensor - which is frankly amazing. A global shutter with dual gain conversion is unheard of before.
 
 

Panasonic announcing PDAF in a firmware update for the GH6 next month like this.

I saw in the video, he says it's a Global Shutter, has 16 stops of dynamic range and 5k video, with a lot of frame rates. What more could one ask for? It's probably better than Full Frame, if the quality is anywhere close to advertised. If that's the case, Panasonic needs to pick up one of these sensors for itself too.

5K global shutter, dual gain sensor and "the best dynamic range out of all their cameras". Shipping in October. People are already whining about the price of 3999 dollars ("ITS NOT FULL FRAME"). This is why we can't have nice things and I fear this might sell very badly of course.
https://www.newsshooter.com/2023/09/16/z-cam-e2-m5g-global-shutter-cinema-camera/

Stabilization with Ibis plus extra Eis gives gimbal like stabilization and eliminates wobble on some native wide angle lenses.
Auto focus is spiffy but absent at 300fps. 4K 120p is offering Pdaf but no face detection, just center box AF. I must say this guy makes me appreciate the beauty of filming oneself in 300fps. Well, kinda. But kinda almost enough.:) Would love to see AF and wobble compensation with the 14 and 20mm pancakes, especially the latter. Color palette looks like another area of progression. We'll see. Waiting for slashcam and its "creamy resolution" and latitude tests. Latitude was one of the strenghts of the GH6, putting it up there with the best due to its Dual Gain sensor.
 

They are showing G9II body in Japan atm. 

Say goodbye to filmic pro and their money grabbing subscription

Say goodbye to filmic pro and their money grabbing subscription

Say goodbye to filmic pro and their money grabbing subscription