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Caleb Genheimer

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  1. Bausch and Lomb CinemaScope Attachment II?
  2. You should also eye up the 1.75X, it’s the best Kowa optics I've seen and absolutely on par with their full cine glass.
  3. 4/20! I currently rock a GH5S and a Pocket4K, and that’s only because my NX1 is out of commission. I also had a GH5 in the brief window before the S was a thing. The only thing keeping me from also having an S1H is the autofocus. I’m not upgrading digital bodies until a manufacturer provides full frame open gate with good AF and 13+ stops of DR. Until then, the GH5S and Pocket will do just fine. If I need top notch DR, I’ll just buy a couple loads of color negative stock and shoot 16mm
  4. I think the Blackmagic stuff is enough out of left field to also qualify. My P4K is not miles ahead of my GH5S in IQ on a good day, but the simplicity in handling of the cine cam menus coupled with the save-your-butt tweakability of the BRAW files really sets it apart, especially for the price. I LOVE the idea of the Sigma FP, it’s just my favorite, but I wish it had open gate RAW. Really the S1H is the only truly full frame video camera right now, the rest restrict to 16:9 which is sad. If Fuji’s next GFX iteration has open gate video, I’ll be all over it, price be damned. That’s IMAX te
  5. Man, great interview! It’s a major buzzkill that it will never do open gate video recording though. I don’t know how to push this on full-frame cameras, but as of now, only the S1H even utilizes the full sensor height in video, which makes the anamorphic shooter in me cringe to no end. That, and the GFX cams are obviously also a larger imaging area... but then those have even more sensor height they could be using, so.... yeah. A bit depressing.
  6. Yea, at this point it’s high time for someone to crack the camera firmware and see what they can actually do with the hardware. Either that, or they need to get on it with a similarly priced Cine cam. Put the same hardware in a new box with active cooling. It is also high time for the competition to kick Canon’s butt on AF performance. AF is their last bastion of defense. Honestly, if the Panasonic S1H had AF on the level of the latest Canon Cine cameras, we wouldn’t even be having this conversation, the S1H would be a virtually flawless Full Frame camera (IBIS, Dynamic Range, Open G
  7. Wait, your thing is steam powered? Where do I pre-order?!
  8. Honestly it’s past time for Tilta or similar to just make a stand-alone AF module that controls their focus motors. Then any camera could have decent AF! AF this, AF that... it’s just a tool. Sure, you shouldn’t use it all the time, but there are times where it is the tool for the job. Heck, I’d trust Canon’s AF on my 16mm camera most of the time (if that was a thing,) because I’ve tried pulling focus off that tiny ground glass, and it’s just not reliable. As is, I have to get an extra pair of hands and a tape measure to avoid wasting film on blurry takes.
  9. I have a crystal sync sound 16mm camera that I acquired for $980, so now every time the latest and greatest digital camera drops, I view the price tag through the lens of how many gold Kodak canisters loaded with a 400’ core load I could purchase and process with the same amount of money. An A7sIII is about 7 loads of 16mm film, processed and scanned. That’s 77 minutes of footage at 24fps. Conservatively, that’s a 15 minute short film in the bag, or a 30 minute film if you shoot a tight ratio. That’s almost enough film to produce the entire first act to a feature if you plan carefully. Th
  10. 16-bit external could be the diamond in the rough here depending on how exactly that pans out.... as well as how good the AF is. My impression is that while Sony might not be knocking on Canon’s door with the FX9 AF, they’re definitely standing on the doorstep. If this new camera has the same/similar performance, it might be the “best kid on the block” so to speak... in the mirrorless hybrid category. The advantages of large photosites shouldn’t be ignored either. It’s not the “FX9 in an a7 body” that everyone was dreaming of, but if those caveats mean that it is a rock-solid performer without
  11. Ugh. If Blackmagic would just resurrect that NX1 sensor in a Pocket cam with that AF and BRaw, I’d honestly be happy. In a smaller/hybrid camera, that’s what I want. It’s for putting on a single handle gimbal, pointing and shooting. If I want cine style with a focus puller, rails and a full setup, I’ll use a cine cam no problem... don’t care about AF in that case. But on these small cams? Bad AF kills the usability within their obvious use-cases, and crappy codecs kill the good vibes.
  12. Catching up on this thread and now I’m sad again that my NX1 is dead, and that Samsung exited the market. Their AF actually rivaled Canon’s, unlike everyone else’s.
  13. Yeah, it still blows my mind that Canon’s DPAF is genuinely their last bastion of defense. It really is undeniably good and unparalleled. The S1H hits every other possible mark, so if Panasonic aren’t singularly focused on implementing flawless AF at this point, they‘ll miss their window of opportunity to sweep the competition across the board. They made a hybrid camera that received Netflix approval... It doesn’t get much more professionally demanding than that. Even considering that, I’m suggesting my employer buy a couple C200s for our bread and butter cameras. Focus has such
  14. There are many factors besides focal length that impact vignette. You have to get all the optics as close to each other as possible to maximize your results. Unless you get lucky and find someone who regularly uses the exact lens combo you are asking about, chances are you will have to just give it a go yourself to figure it out. Be kind to the next fellow and document your results! My best advice for finding taking lenses is to not rush things and keep an eye out for good prices, so that if it doesn’t work as expected, you can flip it and not loose out.
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