jgharding

20 hours ago, Bandido said:

PDAF, PDAF, PDAF....That is what everybody wants to see. It is the year 2020 Panasonic. It is time to join Canon, Sony, and Nikon.

Personally I'd rather DPAF than PDAF, I can't stand those weird lines you get at higher ISO on PDAF sensors

19 minutes ago, Lux Shots said:

I think it's great. I find that I have more trouble with my own vision than I did with focus peaking accuracy. When I use the EVF, nailing focus is quite easy. When I run on a tripod or gimbal, the internal screen, as good as it is, is simply too small, so I'm almost always using my Ninja V then anyways.

Yeah it's good peaking. I can't really focus pull that well on Ninja V due to the high HDMI delay. You need to rehearse pulls so live pulling i HAVE to do on the screen

TBH on the S1H I don't miss the AF now I'm used to it.

I went back to a C200 a while back, and I was trusting it was AF, and it was actually slightly out through the whole interview. Now I always do that in MF too.

the S5 will be announced here in not too long
 

https://www.panasonic.com/global/consumer/lumix/s/s5.html

If this model retains at least a decent 10-bit 4K mode of some description, and vlog, well Canon could be a little sore after the R5 debacle 😅

https://www.l-rumors.com/confirmed-panasonic-will-soon-announce-the-new-s5-entry-level-full-frame-l-mount-camera

I do wonder what this means for a GH6, if there is still one in the works or if full-frame is pretty much the Pana roadmap now...

All the S5 needs really is to be a lighter, stabilised run and gun with their solid 150mbps 4k 10-bit and it'll sell a bunch.

well this really is an omnishambles isn't it? It just gets worse with every new article.

If they had just called it a stills camera with spare video modes people may not have cared so much. But marketing it as an 8K RAW beast then having it not work properly for too long (either because of heat or because that would make it too good and cannibalise other sales) is a terrible marketing mis-step.

I can't imagine the meetings they're having...
 

It's possible they set the time limits in firmware as an ultra-conservative "make sure it doesn't burn out" cut off, based on a worst case scenario... it's the kind of thing these large corporations do.

Quite why you wouldn't just design it well like the A7S iii though, I don't know. I think this is irreparable brand damage for this market sector.

Like most people my age who stared video around the 5D MKii (550D for me) its sad to be waving goodbye, but I’m 100% Panasonic now.

Unlike a lot of S1H owners I didn’t consider getting an R5 even off the spec sheet because I knew, not suspected, that something just wouldn’t be right.

that’s the end of brand trust right there. When you just any get excited about the product or trust it’ll work.

obviously the C300 Mkiii will be great but it’s basically the flagship and a totally different price category.

So I know they were saying "FX9 colour, everything is fine now" but I watched this official video and her skin is doing the "Sony thing", jumping from yellow, to magenta, to magenta blotches in low light.

I guess I'll have to try one out and see how it is IRL, but this doesn't fill me with confidence...

The initial shot is nice, but the blue light ones she is blue and magenta, in blotches, the tunnel ones she is yellow...

I don't know what's at play here, ISO colour shift, how the sensor reacts to different lights (it seems to be having a horrible time with bluer than daylight and those tunnel lights, which are probably fluros) but it's not a good advert for the camera.

In the Kitchen video there's also some weird stuff going on with the tungsten lights going very yellow too.

I actually thought the R5 Tilta fan was a meme! Respect to them for doing something, but it’s never gonna be the same as a heat sink that’s actually on the internals.

The S1H, I took it out at the height of a hot day, was shooting bursts (I always shoot bursts) and video for ages, but the fan didn’t even seem to come on

if you look at the size difference between the S1 line and the Canon and Sony models, I think that’s the main issue here, just The physics. Cramming Hot things into to tiny sealed bodies makes for poor ventilation.

i don’t know why the obsession with shrinking professional tools, for me it’s a lose lose, I prefer the larger ones in use and they don’t boil themselves.

9 minutes ago, Andrew Reid said:

Canon, Nikon, Panasonic, etc. could have got stuff anywhere at any time, I think the decision largely boils down to Sony winning the tender before the other manufacturers even got a look in because it was perhaps a done deal with Sony marketing material in the tender (like AP saying it needs "cut & paste from Sony"... eh, I mean "silent shutter")

That's what I hear on the grape vine anyway 🙂

Plus the financial terms probably quite favourable.

But also, Canon didn't have a pro mirrorless camera available at the time the decision was made, and neither did Nikon, both with limited mirrorless lens ranges too.

Yeah the sleeping on pro mirrorless was pretty shocking. 

I always picture steering a company like Canon or Nikon as being like steering an oil tanker using a the committee in Chernobyl. They're all round this table in the bowels of the ship. Someone says "this is what we need to do" and he is hauled of to the gulag. 

A year later they carry the orders up to the guy at the wheel, and he fills in the requisite 200 forms he has to before he can steer the ship.

He then starts turning and they hit an iceberg.

12 hours ago, TheRealOG said:

1.) I’m a full-time photojournalist. I do have encounters with AP PJs out in the field. If they are churning and burning, they probably won’t shoot log as they upload and send their video to other press agencies. They in turn do not have the luxury of color correcting before air. 

If they are shooting an investigative piece or something long term where they have time and crew to put it together, yes they may shoot LOG. Business is deadline driven, "Make slot, not art".  SLOG introduces an unnecessary workflow when your slamming video together. Not enough time to render and transcode that.

That's interesting to read. Having never done a job like that I never think in those terms. I'm guessing that also the small size and weight of Sony's offerings has something to do with it?

I'd guess the logistics available to a company like Sony may have something to do with it too? Sony is a vast corporation and I guess  AP want to be able to get stuff anywhere at any time, and may benefit from the distribution networks and so on?

Just a guess, but I'd think for such a large organisation as AP there's a lot to worry about in terms of spares, repairs, availability in far-flung parts of the world etc

And to be clear, if I were JUST a photographer, no I wouldn't buy an S1H. But the R5 headline spec is clearly "8K video", and it's in such a way as to be a bit silly.

1 hour ago, Yurolov said:

The sigma fp doesnt even have internal log and requires an external recorder just to get a useable recording option. They didn't fully think that one through. 

Yeah the FP definitely needs some firmware updates. That's why I don't own one, I think it needs to mature a little.

1 minute ago, TheBoogieKnight said:

The 50 is great but that's pretty much it if you want native. No portrait lens (the 85mm RF is absolutely remarkable), no OIS on the zooms (other than the 70-200s), no F2.8 at the wide end etc. etc. I've got no problem with the Panasonic glass but the RF range is on another level.

Then there's the eye AF that just doesn't work a lot of the time and I say this from [painful] personal experience across a range of shoots. I recently tried an Eos R and the AF for stills was on another level to my S1. Let's not discuss for video...

 

I'm delighted with the still that come out of my S1 but the Eos R (and RF glass) has many, many advantages.

Yes they definitely have a certain edge for still photography, but TBH I wouldn't buy an S1H if I were just a photographer. I think it still maintains the best balance for a video focused body that is small and does great stills.

1 hour ago, padam said:

That's just not true, for stills, the S1H is much weaker than the EOS R5, the lenses aren't nearly as good, and it's a lot bigger.
It's just not the right camera (or rather the right system) for most people, that's why it's depreciating so much.

I think much weaker is a stretch, it has more than enough megapixels for most tasks, excellent DR and exceptional low light ability. The 50mm 1.4 S lens is as good if not better than the similar Canon offering.

It may not be the right camera for "most people", but I stand by stating it's the best hybrid for professional day to day use.

The point is the S1H actually does balance the features. That means losing certain things and gaining others. For most of it you get the near to best of both worlds. 

Most people now are obsessed with spec sheet Top Trumps, but the best cameras I've used, the ones that stay around the longest, combine a great image with good QOL features. The ones that don't last often have crazy headline specs (see 8K raw) but have annoying bugs that make me sell them (see overheating, no anamorphic modes etc etc)

Weight wise, the S1H  is easily light enough to handhold, or you can rig it up for cinema use. I used to have a Red Scarlet, now THAT was heavy!

1 hour ago, mrtreve said:

 

I might get an R6 as a stopgap towards the Komodo. Very different cameras but both fulfil the brief for a Ronin-S cam.

 

I found the Ronin S struggling sometimes with an S11H and a native lens, it's usable with a small old prime and Nucleus Nano... but I think you'd have to rig the Komodo light. Komodo body only is about the same weight as the S1H.

One guy on a FB group had burned out two sets of Ronin S motors with an S1H too, so with the Komodo being a similar weight do be careful...

The S1H second hand is a lot cheaper than this, you'll find them for 2700 USD or so.

It has an internal fan, all anamorphic modes you could think of, VLOG. External recording for boosted settings, but plenty of good internal ones including a 6K mode for big plates. Excellent colour and DR, it's wonderfully usable.

The only down sides are shit autofocus and the battery life could be better. The stills are amazing too.

It doesn't yet have raw recording because something is up behind the scenes, but it's designed to work as a pro camera, and is the model of how a hybrid camera should work, for me.

If you want a balanced hybrid for professional use, it's the best all-round choice right now. If you want raw for cine-style use with a bigrig, there's the Sigma FP which is phenomenally specced.

The new Canons look like more of the usual "we can't make this too good or no-one will buy our camcorders" rubbish from Canon. Same old same old, looks great on paper before it's released (cue ridiculous YouTuber wide mouth wide eye infantile thumbnails) and turns out to be hobbled in order to make you buy a more expensive model.

They want you to buy a C300 MK iii. It's where all their great new tech is, including their own version of the Arri dual-gain architecture.,

Fuck em.

On 6/26/2020 at 3:21 PM, kye said:

So you couldn't just put the same processing on it and have it broadly match the other footage?

That's a real issue - it was sold as that so wasn't that kind of the point?

for some reason i couldn't. The footage was always kinda mushy looking too... It had a lot of promise but ultimately didn't deliver.

it's great to see an actual film used to showcase a new camera! so often it's just a reel of super sharp over saturated stock shots.

That said, I wish they'd finished and uploaded this in 4K! YouTube 1080p is crusty

I had an XC10 for a bit for pro use. But after the torture of trying to get the colours matching to other Canons I sold it. Specs etc looked great but the image always annoyed me.

On 6/4/2020 at 5:11 AM, kye said:

Yeah.  I've noticed a pattern of cinematographers saying that they got the mini to do a few action shots or whatever and then in doing testing they discovered the mini was really great and ended up using it for the whole production.  These comments made me wonder why you wouldn't just do that as kind of a default, and only go for a larger model if there was a specific reason.

I think this is gradually happening, from those I know.

The S1H basically has nightvision. V2 firmware removes the Vlog ghosting issues if you set NR to -1

Very very good night camera...

Still such a beautiful  skintone and the dual-gain sensor is lovely.

But ya know, the associated grip and batteries and so on... it'l all massive. 

TBH if I have a production hwere i can have crew i just hire it. If I don't I'll use the S1H, and turn up with nearly everything in a Peli 1510,  it's pretty close in footage looks.

This all seems like the standard modern business plan. Pull people in at one level, trap them, then raise the price/lower the pay. Pretty sad.

Hi all,

I recently fitted a proxiscope to my Iscorama, but the grease is just too stiff for the follow focus motor.

as such I’m going to pull it apart again and re-grease it. 

what i’d like though is a recommendation for a good lithium grease for lenses. Not so little resistance it’ll drift, not so much a small Nucleus nano can’t push it about.

many thanks,