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About QuickHitRecord

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    C70 for work, Red One MX for passion projects, and a few mirrorless cameras for everything in between

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  1. Pretty cool! I had forgotten about that project. I'm glad that they are still out there. I checked their demo footage and it looks great. I went back to the Apertus homepage too. There two updates in the last year, and the most recent was five months ago. Maybe there's more going on than I realize, but they seem to have lost a lot of momentum.
  2. Sorry for the redundant topic. I ran a search for it on this forum but didn't see anything. Maybe they weren't calling it "Cinepi" yet.
  3. For anyone who wants to learn more about this project, here is the development thread: https://forums.raspberrypi.com/viewtopic.php?t=296776
  4. Someone has been working with a Raspberry Pi high quality camera module to make their own 1/2"-sensor open source, raw-capable cine camera: Placed into a 3D-printed body, the components reputedly only cost $200 (this probably assumes that you already have a monitor of some kind). The demo footage is surprisingly good:
  5. There aren't that many. Off the top of my head: Sony F35 - Super35 Sony SRW-9000PL - Super35 Sony Genesis - Super35 Digital Bolex D16 - Super16 Ikonoskop A-Cam dII - Super16 And then you get into 2/3" CCDs, and there are a ton of those. Here's a good place to look for the Sony models. On the Panasonic side, there were the HPX and Varicam bodies. Toshiba, JVC, and Ikegami also had 2/3 CCD cameras, but they were mostly standard definition. There were a handful of 1/2" CCD camcorders, mostly from Sony as I recall. 1/3" CCD sensors were mostly found in fixed zoom lens cameras like the HVX200, FX1, Z1U, DVX100, Canon XL/XH cameras, and some of the JVC GY cameras. But 1/3 sensors are pretty small. Compared to today's mirrorless cameras, these cameras were mostly very large and meant to be operated on shoulder or tripods. The smallest and most manageable of the bunch was the Digital Bolex, which now goes for around $7K used. The Sony F55 is a MOS sensor with global shutter, not a CCD camera. If you'd like to have a small CCD camera to try out, I'd recommend the diminutive and inexpensive Lumix FZ47 (FZ48 in the UK). It's fixed lens and can't record in 24P or 25P, but it does shoot in 1080P and the 1/2.3" sensor is larger than any of the 1/3" cameras. And the image stabilization is surprisingly good, which is useful for the ~600mm equivalent zoom. Here's some footage I shot: I personally love the camera, but I wouldn't say that the grain is good at all. If you freeze-frame the footage, you'll see a ton of temporal ghosting and macroblocking. But in motion, it's one of my favorites. And here are some of my photos with it (JPEG only, the camera does not shoot RAW): https://distanceandelevation.com/blog/2021/8/9/bandontoportorford
  6. That was smart! I wish I had purchased more than one roll. It looks like B&H are sold out again after less than a week. Last time they were without for at least six months.
  7. I love film too, though certain stocks are too grainy for me. Now that it's finally back in stock after months of waiting, I just bought my first roll of 250D. Now I need to find something worthy of $150+ for 2.5 minutes (and it's a test roll, since it will be my first time using my new Kodak K100). From other tests I've seen, 250D is the ultimate, perfect grain character.
  8. Here are some C100 (i) tests I did that give an idea of the grain (download for a less compressed experience):
  9. My 5Diii with ML Raw suffers from dancing green and magenta blocks. It's unchanged between ISOs 100 and 400, so I always shoot at 400. When I'm not pixel peeping or trying to bring up the shadows too much, I'm always happy with the overall image. I haven't used a 5Dii yet but I really liked some of the 50D stuff I was seeing back in the day.
  10. I haven't gotten my hands on an R6 yet (and may not, due to overheating), but I saw a side-by-side comparison with the older EOS-R and the grain was MUCH nicer. And the C70 has the best noise/grain of any Canon I've used. I am very pleased with the noise up to ISO 800. At 1600, I can start to see just the faintest hit of vertical FPN. But 800 is plenty. And it's much better than the C200, which had horizontal FPN even at ISO 200 when shooting in CRL. I had a shoot with a Komodo and my R1MX last Fall. I really liked the Komodo for the most part. I wish I'd had it for longer so that I could have compared the two cameras, but the grain seemed very pleasing and well-controlled. But there's still something unique about the original MX that I didn't see in the Komodo. And it only cost me $3K for a complete build with batteries and media. Yes, the Alexa is very good in this regard. Interesting. I'll have to look into this further. I did a shoot with the 6K and remember it being a bit too noisy for my taste. But Blackmagic is all over the map. The BMPC was the worst I have ever seen. The BMMCC was pretty decent. It seems like pleasing grain is an often unsung benefit of higher-end cinema cameras, though I am secretly hoping that someone will tip me off to a consumer-level sleeper.
  11. This is clearly a subjective question. To me, pleasing grain structure is well-defined, tight/small noise with no fixed patterns and as little green and magenta as possible. But please share your observations, even if your criteria for pleasing grain/noise is different. For me, I'm really liking what I'm seeing from the Red One MX. Unsurprisingly, none of my other recent or current cameras (C70, C200, EOS-R, 5Diii with ML Raw, G85, or EM10iii) comes close. It meets all of my criteria for pleasing noise/grain. But I'm also curious if there's anything smaller that does well in this area.
  12. Wow, Kye. I have no idea how you're achieving the second two. If we're basing this on weight, then those numbers are going to be tough to beat! One of the guidelines I'm setting for myself is that I can't buy anything new just for this challenge. I have at least a dozen cameras cameras already and don't need any more. But nothing I have is that tiny. I can't wait to see how you're doing it.
  13. Good thread, Kye! Did you continue to experiment with disassembly? Someone posted over on MFLensess: With that in mind, I bought an inexpensive but highly-rated hygrometer. The maximum humidity over the last 24 hours or so is 47%. I'll keep an eye on it but perhaps a dry cabinet is not necessary here. Last night, I did a partial assembly of my Kern Switar 10mm 1.6, which was my favorite lens to become infected. Following a YouTube teardown, I carefully removed all of the elements, putting everything into an ice tray to help me with sequencing. When I got to the element with the "fungus", I was surprised to see that it looked like a very long piece of fuzz. It was probably an inch long in total. The end of us it was sticking straight up at me, as if the element had been holding it down. To remove it, I used a pair of tweezers and just pulled straight up. It came up in one piece! There were also two other similar pieces, though they were shorter. I'm not even sure that this was fungus after all. Maybe just some nasty dust? In any case, it needed to come out because even if it wasn't fungus, it could have become a food source for some. After the removal, I blasted the assembly with my UVC light for 5 minutes and then reassembled. Everything went so well that I decided to try to do the same with an old Kino Precision lens. There was no video for this one but I decided to see if I could figure it out. Bad idea. The rear element group came tumbling out all at once, and I have no idea of the original orientation of the elements. Also, I got all the way down to the aperture blades, and then when I tried to reassemble it and add the layer back in over top of the blades, it messed them up. I could never get them to sit properly again. This is maybe the third lens this has happened with and I felt bad about it. But then again, we're talking about an infested lens with a stuck focus that I bought for $20. It's not like it had a long life ahead of it.
  14. I've been doing some more research. It turns out that UVC light cannot typically penetrate the glass of a lens, so the 254nm UV source like the light I ordered will kill surface microorganisms but won't be able to get inside of the lens. I've read that the ideal UV wavelength range you want is in the 300nm - 330nm range, which I think may put it in the UVB range (I could be getting this wrong). The filter company B+W owned by Schneider put out a product called the UV-Pro a couple years ago, which is allegedly a 300nm source. But it never went on sale on B&H or most of the other major retailers, and there's no info about it on the Schneider website. Maybe it was a flawed concept that was quietly killed, or Schneider was too concerned about the liability of people blinding themselves or trying to cure themselves of Covid that they decided to discontinue it. Either way, it looks like it can still be purchased on eBay or DigitalRev. Here is a test that doesn't tell you much about the tool's ability to penetrate lens elements: What I'd really like to see is a lens with fungus opened, swabbed, UV treated, and then opened again for a second swab. That really would tell us everything we need to know.
  15. Yikes. Sorry to hear it. This site was one of the first that pushed me to look beyond Canon EF and EF-S lenses. I'm certainly glad I did, pitfalls and all. I think that's exactly what it is! I really messes with your head when you're looking for an infestation. This is absolutely right. Every lens is already infected. You just have to keep them dry enough so as not to let the fungus run rampant.
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