Chrad

6 hours ago, New_E said:

 

Why is the flip screen somehow never an issue for SONY A7 cameras? Or for the Nikon Z6 and Z7 for instance? I only seem to see that much moaning about the flipscreens on the S1/S1R.

It is an issue for Sony cameras. It's one of the reasons I've chosen Panasonic cameras. You only hear the complaints about the S cameras because it's what Panasonic users expect. This is supposed to be a hybrid camera and they haven't included one of the most useful features for video shooting.

Chances of Panasonic putting SDI on a DSLR style body are maybe a smidge above zero.

Yep. You either do it, or you don't.

Haha at the thumbs down. It's a joke about black people being stupid and unintelligible - if you're going to post it in a public forum like this, own up to what it is.

On 2/14/2019 at 12:25 AM, Christina Ava said:

Although this year we have a fellow Greek in the Oscars, for me they are dead since the LALA land disaster.

If you witnessed this mega cringe where they had the whole cast on stage thinking they had won and then they took them all down...i dont want to watch the oscars again.

The second problem is the PO overdrive, where they put films like "WE WUZ KANGS" aka Black panther contesting for best pictures, and all the PO bs where people get nominated because "me too" or because they are minority.

This is racist as fuck.

8 minutes ago, Shirozina said:

For this reason I'm just going to buy more LP-E6 batteries for my P4k.

When they call it a 'true digital film camera', what they mean is that you need to always watch the capacity and reload it often.

Only with batteries instead of film.

1 hour ago, Andrew Reid said:

Also as I think the yields will be very low and sensors will be expensive, it might come to a smaller chip system first like M43 and not full frame, which will give M43 a big advantage - 8K, global shutter, 20 stops dynamic range, electronic ND, film-like colour.

Man, I *hope* they'll bring this thing to M43. It's a little ironic that this tech that's kept us M43 true believers faithful for years finally hits at a time when it seems Panasonic are shifting their professional push to the full frame world.

Full frame is a shark infested red ocean market. I think getting a foothold there is much riskier than leveraging their existing M43 system with incredible tech that redefines the format, but I fear their execs see dollar signs from the higher margins of a fully 'pro' L-Mount system.

30 minutes ago, hoodlum said:

I would think Panasonic would start with a 4k 12mp GH6s to reduce the demand on processing 8k.  There will be enough heat generated from the sensor alone. This would also further separate the GH6 from the GH6s. 

I doubt there'll be a GH6s. I don't believe the GH5s has been a sales success, and its existence depended on a fairly novel sensor from Sony. As a security sensor, that thing could stay on the market for years , and if Panasonic/Blackmagic aren't putting in a pre-order soon then I don't see the need for a replacement before the Tokyo Olympics (presumed GH6 launch deadline).

If the organic sensor is as wondrous as claimed, there'd be little need for a GH6s anyway.

4 hours ago, Emanuel said:

 

Will be close to ideal once the D-tap cord is widely available. A better option than the dummy battery, since you could charge a real battery as you run the camera.

I'd trade IBIS for a proper 4mm MFT filter stack. 

3 hours ago, Shirozina said:

There seems to be a lot of hysteria surrounding ultra wide lens edge performance but in real world shooting is this really a problem. Shooting moving images with an ultrawide lens is problematic for many reasons including weird perspective effects like excessive motion at the edges of the frame when combined with camera movements, unnatural perspectives and simply people looking fatter at the edges of the frame. In the cinema it may be used to convey a sense of distorted reality in a scene but in general use that 'ultra wide shot' has few uses. 

It depends on how you shoot. It might not be a major issue for many, but I draw a lot of inspiration from the aesthetic of directors who make prominent use of ultra wides like Terry Gilliam, Terrence Malick and Michael Mann (of late), so it is for me.

It would be good to see some infinity focus tests on the Voigtlander 17.5 - that lens has quite a bit of field curvature.

Hollywood loves the Alexa for its reliability as much as anything else.

10 hours ago, scotchtape said:

To be honest I haven't really used my Godox units a whole lot. 

With the quieter fans comes reduced airflow and higher temps.  I'm in a generally cool climate, stock operating temp for the sl200 I think was 42C and with the quieter fans I'm getting 53C.  If you are in the desert I doubt either will last, but the stock fan would keep it cooler for slightly longer.

I forgot if I swapped out to the regular vs the ULN (noctuas has different versions of the same fan at diff speeds and noise levels).  Whatever I'm running only adds 3db to noise floor in tiny quiet bathroom so huge improvement over stock and basically silent on location.

What kind of performance did you get out of the 60w version?

9 hours ago, scotchtape said:

I've written a bunch on the Godox SL on dvx lighting forum.

If you are willing to experiment for us, how about this Falcon Eyes COB

https://www.amazon.com/gp/product/B07H5HXV1H/ref=ox_sc_act_title_1_1_2?smid=A2ATCDO7P7Y2P0&psc=1

Looks really interesting, 300W bicolor, could be better than Aputure? Thinking of getting this and selling my Aputure COB 300.

Also thinking of getting the Falconeyes RX24TDX.

Has the NF-A8 ULN worked out well for you with the Godox? Considering ordering it but I'm seeing some conflicting reports on PV.

19 hours ago, Oliver Daniel said:

While there's people pointing a finger at Blackmagic, the big boys put out the most dismal, boring and often unflattering "launch videos" you're ever bound to see. What happens in the creative process?? - "Hey - we've got a $10k camera to sell here. Let's shoot some trees, houses and people walking around. Throw on that Yoga music you like." 

I wish Blackmagic gave the camera to more 'filmmaker' types and less 'promo' types for their sample shorts. The Colour of Light video was nice as a demo but the voice over was poorly written, and the Lost Generation video was pretentious bro douchery. The wedding video was actually the most interesting and artistic footage they put out!

4 hours ago, homestar_kevin said:

Up to this point I've only really been messing with cheaper panels.

 

I really like the stuff I've accumulated over the past few years, the fixtures just keep getting better and cheaper.

I have 2 Aputure 672S

2 Yongnuo YN600 RGB

2 Yongnuo YN360 RGB

3 Travor 3060a Flexible Panels

2 Travor 3030a Flexible Panels

 

I'm looking at some harder light LED Options and am researching the Godox SL60's and other similar Bowen mount models.

I've heard a lot about the fan, but is that fan noise just as present on the sl60?

 

I'm in the same place. From what I've heard, yes, but some people have found success with replacing it with a quieter fan.

2 hours ago, Snuff said:

RED Gemini vs Blackmagic Pocket 4K

 

Noise performance of the Blackmagic is amazing.

17 hours ago, deezid said:

https://drive.google.com/open?id=1lYduNOHyHSZj_SZPlRy96GJdZUFj8L6Z

A short dynamic range comparison by @tidefilm
Matched the source files (the shadows of the GH5s are completely desaturated) and added a bit of blur to take away the edge.

Please download the file. The Pocket 4K smokes the GH5s in this test, it's not even fair. Not only no sharpening but also way cleaner. The GH5s shows some horizontal noise patterns (was shot at 25p)

I definitely prefer the softer, less digital look of the P4K image, really nice. The noise levels are mostly due to playing to the weaknesses of the GH5s though, by underexposing in V-Log.

3 hours ago, A_Urquhart said:

Not in a 50hz country.

The shutter can't be at 180, but you can fine tune it till the flicker disappears with the Synchro Scan feature.

8 minutes ago, Mattias Burling said:

My take on it.

All cinema cameras I know of have a built in screen of some sort (there probably are those without any screen as well). Many of which cant display the image at all. Its for settings only.
On the Blackmagic cameras however they can also display the image so you could, when needed, use only it,

I view the screen as I do the battery. It is a Cinema Camera. Cinema Cameras use external power.
However BMD has built in an internal hot swap battery in their cameras. Ment to keep the camera going when changing power source. So in a pinch you could use it. And on some of their models its even intechangable, so you could, when needed, use only it for long shoots as well. 

And the size. It is a Cinema Camera. Cinema Cameras are big.
However BMD has made the brain of two of their models really small, pocket sized actually. So you could, in a pinch, strip it down and use it with just a pancake. Making it really light and small.

This makes sense. 

But man, all they had to do is add a hinge to the monitor and this design would be so much more flexible. If you have a V-mount or some such power supply on the back, you could flip out the screen to the side of the camera and use it alone. It's a high enough quality screen that it seems wasteful for it to be treated as just a backup that you could use if you need to. 

And with an external monitor attached? There's your DP and director's monitors. Or, one for the DP, one for the focus puller.

19 minutes ago, kye said:

I wonder how people see the screen on the back of their real cinema cameras?

Isn't the whole point of the big monitor that this is a pocket camera and you don't need an external monitor? 

If you need to rig up a monitor to mount external power without some unorthodox rigging whatsit designed to prevent blocking the view of the screen, then the rear monitor is just a waste of space and energy. 

Or are you saying this isn't a real cinema camera because they included a screen on the back? 

Broken design: halfway between a cinema camera that requires rigging and a low form factor device, in ways that are trampling on each other. The least they could have done here is add a hinge for the screen and then this would be a non-issue.

3 hours ago, kye said:

Now in 2018, they release a 4K60 RAW cinema camera that costs less than 10% of the above RED, is smaller than the C100s but a significant margin, gets similar battery life, is easily hand-holdable, works with all kinds of third-party accessories, and comes with a free copy of an industry leading NLE.

Anyone who bitches about the battery life, size, cost or anything like that clearly don't have the faintest idea what a real cinema camera is like.

Get a grip - you're just embarrassing yourselves.

This camera is not what a real cinema camera is like though. An Arri or a Red is built around requiring external power and has a clear and logical place to mount the power supply. Usually a battery is placed behind the camera on a real cinema camera, but you can't do that here without obstructing your view of the screen. You could mount it underneath, but most people won't have access to that. 

This is why I refer to it as a broken design. It requires the rigging of a cinema camera for a lot of uses but it's built like a VDSLR.

21 minutes ago, Yurolov said:

What do you lose IQ wise with the Ex tele mode?

It's noisier since it's reading a crop of the sensor instead of downscaling. Maybe a tiny bit less sharp.

I would think the GH5 would be the way to go for S16 lenses. Turn on Ex Tele mode and you've got an almost exactly S16 sized image circle shooting 10 bit UHD, with IBIS included as well.

27 minutes ago, Kisaha said:

Do you know how many Sony a6xx/A7x/Fuji cameras with terrible battery life have been sold already?

The previous one needed almost everything to be usable, this one just some batteries (I have half a dozen of those without even owning a Canon camera), plus they offer 5" touch screen monitor, dual ISO sensor (and similar in size with the competition, bigger than most m43 cameras at least), mini XLR (how great is that?), usb C, usb c SSD recording and great great user interface (second favorite after my NX!).

I agree that it's a little less quirky than the original, but I don't think by much. 

Yes, the sound situation is better, but you're still going to need to use an adaptor if you're not going the 3.5mm jack route. The more things change, the more things stay the same.

The battery situation here is truly horrific and shouldn't be downplayed. People are reporting 40 minutes or so. Blackmagic are once again shipping a broken design - the camera should take larger batteries or have been engineered in such a way as to save power if it is to be advertised as a 'pocket' camera. 

Yeah, you can carry around half a dozen batteries with you, but who wants to do that? Or more to the point, who wants to be changing batteries every 45 minutes (of usage, not shooting) in a run and gun situation?

The screen is great, but reportedly hard to see in bright sunlight, so depending on your shooting conditions you might need to buy a monitor anyway. 

The USB-C features are neat, but they require carrying and rigging up a power brick or hard drive. 

And once you're going to that kind of effort, we get back to what I was saying originally. You still need a lot of accessories and effort to make this thing practical, and that's what's going to stop it from being the kind of film-democratizing modern super 8 type thing for amateur enthusiasts. Needing to rig the thing up is prohibitively intimidating, expensive and slow and gets in the way of the fun of getting out and shooting.

For small production companies? Sure, it brings down the cost of professional codecs, particularly raw.