jgharding

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.

I thought at first it was just Safari refusing to do 4K but yes it is only in 1080p. Wish there was a Vimeo-like site for high quality cinematic stuff, that actually worked.

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.

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

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

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.

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

Very very good night camera...

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

Very very good night camera...

I believe you've answered your own question there. 

I'd rather have 5K 60p RAW than 8K 30p RAW.

The thing about actually finishing things got a nod and a laugh from me, I can't count how many things I've started and then left in limbo, meaning to come back later but never do.
I think I am easily bored. Always looking for next idea.
Nucleus nano sounds like a good idea. The S1H is a great cinema camera. It's never going to be a camcorder with AF or an effortless run & gun shot grabber. X-T4 with an 18-135 is better at that.
I'd like to settle on one camera too. Would be nice 😂

Obviously this came from a place of lecturing myself more than anything else, but figured it may help us all once in a while. It’s SO EASY to get pulled into obsessing over specs, or the thrill of the eBay chase and so on.
at the start of the year I moved studio and just had mountains of audio and video gear to shift, some of it I just got preoccupied with a notion that a certain sound or look would “inspire me” but TBH it was nonsense, I just enjoyed the hunting and buying, as soon as thing arrived the hit of endorphins was gone and it gathered dust.
So now I’ve sold a ton. I still have a lot, but try to keep to stuff that really makes a difference.
i settled on the S1H as my camera now. The company I co-run still has a GH5 and C200, but the S1H is the best balance for me, and I’ll stick to it and learn it. The autofocus makes me want to yeet it off a cliff though, but hey I just stick Zeiss primes on it with Nucleus nano and I’m happy!

Haha great stuff. Liked the video a lot @jgharding
It's true, you reach a point where you have so many tools you don't use any of them. The EOSHD blog adds an even more warped motivation for me. I have no choice but to keep buying cameras and lenses!!! I enjoy it like a crack addict enjoys coke. I never wanted to become an obsolete camera collector or lens museum though, and even less want to become a shop. So the things just kind of sit there like the void staring back at me. Buying fancy stuff is only part of what inspired me to start shooting. I do enjoy it, but I enjoy a good shoot even more.
It is something that doesn't just apply to creatives.... much of how we've organised our civilisations all boils down to this constant cycle of acquisitions and never settling with what we have or pausing progress long enough to taste it.
The other paradox of this syndrome is that it instantly devalues what you already have. You can spend a fortune and lots of time on effort researching a tool, only to get it, love it, use it for a week, and then feel the urge for the NEXT adventure straight after before you've even scratched the surface of the creative possibilities that just opened up before you. A prime example of this for me was when I got the Fuji X-H1. The A7 III came along on the same first proper shoot as that, so half the time was spent wondering which shot to do with which camera. Very distracting. Then after the A7 III up pops the Panasonic S1 and Fuji X-T3. By this point the X-H1 was sat on the shelf for weeks on end while I dabbled with 4K/60p, and the A7 III wasn't coming out on any shoots at all. So why did I bother spending all that money on either of them only to upstage both of them within months?
This constant churn of gear is basically one long syndrome of addiction, brief enlightenment and disappointment. I don't know how to stop it. I liked it best when everything was either rubbish or expensive, apart from a GH2. I stuck with that for ages and actually created something.

I would like simpler lens designs to make a comeback in the cinema world. The large size and complex mechanics of most cinema glass is mainly to prevent breathing and chromatic aberration. Breathing correction accounts for half the size of the Master Primes for example. I find that unless you're shooting for a massive cinema screen, breathing isn't really too much of a problem unless you rack from infinity to close focus on a static shot. If you're shooting with a lot of camera movement, it's barely noticeable at all.  And hell, considering how much is shot on older anamorphics these days, even big-budget blockbusters, breathing is clearly not the issue it used to be.
Also, I disagree with the tact many manufacturers have taken with adding "character" to their lenses after the fact. They build hyper-modern, ultra-sharp lenses and tweak the coatings for more flare and ghosting. The result doesn't look "vintage" to me at all. It's looks like a modern lens with flare superimposed on the image as if it was done in After Effects. Sigma is especially guilty of this. Their "Classics" are duds in my opinion.
The Cooke Classic Panchros are much more successful in this aspect. They actually replicate the small dimensions and steeply curved surfaces of lenses past and the result is much more pleasing. Hell, even their Cooke S4s are practically vintage now, even though they set the standard for cinema glass just 10-15 years ago. Compared to the new Zeiss and Leica glass, their fall-off, vignetting and flaring appear to be from a different era.
I also think that the obsession with fast apertures is driving the direction of lens design towards a clinical direction. Having a lens that's usable but pleasing at T1.4 requires twice the engineering, twice the size and twice the price as one that's T2. It's actually easier to build a lens that's clinically sharp at that stop (and much much easier to build a lens that's useless at that stop) than one that maintains focus while supplying an image with character and charm. See the Leica Summiluxes, Cooke S5is, or Vantage Ones. Previous generations of high speed primes (Zeiss Super Speeds, Canon K35s) were mush wide open.
Basically lens design =
A. Pleasing, vintage-style character
B. Crisp sharpness at WFO
C. Price
Pick only two. You can't have all three.

Some shots from the Baby Hypergonar on GFX 100
The trick here is apparently to use a lens with a rear element as small as your thumb.
On a sensor the size of the albert hall.
Light works in mysterious ways.

Hi all,
This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H
All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4

Lighting is a window and a large silver reflector
 

Hi all,
This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H
All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4

Lighting is a window and a large silver reflector
 

Hi all,
This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H
All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4

Lighting is a window and a large silver reflector
 

Hi all,
This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H
All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4

Lighting is a window and a large silver reflector
 

Lovin it. Filmed some leefs and branches moving in the wind outside my window today. Light was glowing. My dirty window glass giving beautifuls distortion to the image. Filmed in 8bit internal SLOG with my latest GAS powered Sony F3 and Tokina 28-70. Heavy beast of a camera, which will heal my GAS! Shot the same sight with my Panny S1 afterwards, 8bit rec709 profile. Both cameras gave me beautiful images. What an afternoon, feeling completely satisfied :) Loved the text of your video @jgharding

Not sure whether this forum here is the right place for this video...

Well this stopped me buying something. So mission accomplished sir. I thank you. 

Hi all,
This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H
All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4

Lighting is a window and a large silver reflector
 

Hi all,
This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H
All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4

Lighting is a window and a large silver reflector