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JR Lipartito

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  1. Like
    JR Lipartito got a reaction from Juank in Canon Cinema EOS C70 - Ah that explains it then!   
    Don't forget raw, 6K, EVF, weather sealing, and the ability to toggle between Full-frame and APS-C at the push of a button rather than needing to swap out an adapter...overall I think the S1H speaks to different needs so it can still effectively compete with both the c70 and a7s III. In fact the only other camera that can offer all of the above features is Panasonic's own S5 (not going to count the R5 because it's such a mess...) 
    The one extra thing I think Panasonic should have done to make the S1H a true "video-first" hybrid would be to replace the mechanical shutter with an ND filter. Hopefully enough people are asking for that and they'll deliver for the S1H mark II. Unlike Canon and Sony, Panasonic seems to listen to user feedback!
    Also there was a wild rumor some time ago that Panasonic was developing an "S1V" which would basically be a Sony A7S III-alike with a 12mp sensor and 4K 120fps. What is interesting though is that this rumor preceded any leaks of the a7S III specs, so now I really wonder if it may have had some substance... But on the other hand, Panasonic might be happy enough with their resolution advantage for now. 
  2. Like
    JR Lipartito reacted to SteveV4D in Canon Cinema EOS C70 - Ah that explains it then!   
    I was using a 6 year old analogy to explain the current attitude to shooting RAW today... sorry if that was confusing... 🙄
    And low/mid budget are often using external recorders...  to circumvent the internal codec.  
    Actually I came across a small video shoot in my home town of Reading.  They were using Pocket 6Ks....  and shooting RAW, so not all low/mid budget shooters are avoiding it.
  3. Like
    JR Lipartito got a reaction from SteveV4D in Canon Cinema EOS C70 - Ah that explains it then!   
    Don't forget raw, 6K, EVF, weather sealing, and the ability to toggle between Full-frame and APS-C at the push of a button rather than needing to swap out an adapter...overall I think the S1H speaks to different needs so it can still effectively compete with both the c70 and a7s III. In fact the only other camera that can offer all of the above features is Panasonic's own S5 (not going to count the R5 because it's such a mess...) 
    The one extra thing I think Panasonic should have done to make the S1H a true "video-first" hybrid would be to replace the mechanical shutter with an ND filter. Hopefully enough people are asking for that and they'll deliver for the S1H mark II. Unlike Canon and Sony, Panasonic seems to listen to user feedback!
    Also there was a wild rumor some time ago that Panasonic was developing an "S1V" which would basically be a Sony A7S III-alike with a 12mp sensor and 4K 120fps. What is interesting though is that this rumor preceded any leaks of the a7S III specs, so now I really wonder if it may have had some substance... But on the other hand, Panasonic might be happy enough with their resolution advantage for now. 
  4. Like
    JR Lipartito reacted to SteveV4D in Canon Cinema EOS C70 - Ah that explains it then!   
    You're over generalising consumers.  Many here on this forum were looking at the R5, Professionals included and those same people will look at the C70.  I am one of them.  I would argue that 8K is a feature more for a hybrid as Photographers will use it for short bursts to get stills.  Features like the upcoming RAWlite upgrade is however less an R5 feature and more what I would expect on the C70 and it makes no sense for a hybrid to have it and a dedicated video camera not to.  I don't care if its a low budget, mid budget or high budget, its laughable to even defend a company that offers Video RAW on a hybrid that is crippled by overheating, but passes on it on a dedicated cinema camera.  
    This lottery of specs that Canon seems to dip in and out of for their cameras is perhaps the most frustrating aspect of their company.  C200 gets RAW but not a 10 bit codec.  Buy a C300 if you want both or the R5, except that overheats, so people say, if you want long recordings, you should buy a video camera, except when you do, you're not getting the same features the R5 has.  
  5. Like
    JR Lipartito reacted to SteveV4D in Canon Cinema EOS C70 - Ah that explains it then!   
    6 years ago many would say they neither needed or wanted 4K, or 10 bit...  if we keep to that attitude of what is, nothing would change or improve in the Industry at all.  Why do Photographers make such good use of RAW and Videographers are stuck shooting H264.  If Videographers need and want H264 and H265, why do they transcode or use proxys.....? 
    A Professional Cinema camera should look to have at least one codec that wasn't a deliverable codec.  H264 and H265 are what you use to deliver video files to YouTube.  Its not ideal for editing, whatever spin is given on it. 
  6. Like
    JR Lipartito reacted to SteveV4D in Canon Cinema EOS C70 - Ah that explains it then!   
    It is when a photography camera gets it and in 8K....
    Its not so much about heavy grades as giving a codec that plays well in editing suites even after grading.  H264 and H265 are deliverable codecs not editing codec  despite many believing them to be so.  
    Its a great camera otherwise let down by a few things.  
  7. Like
    JR Lipartito reacted to SteveV4D in Canon Cinema EOS C70 - Ah that explains it then!   
    What is the intended use?  Even as a Wedding Videpgraoher, I have benefitted from BRAW for improve workflow and handling of colour grading.  When the R5 is due RAWlite, this is an omission and shouldn't be glossed over simply because of the C70s other more positive attributes.   It offers some of what I need, but not all.  Give this camera Cinema RAWlite and this would be a perfect camera for me. Maybe 4K downsampled from a 6K one would be a nice addition too.
  8. Like
    JR Lipartito reacted to independent in Canon Cinema EOS C70 - Ah that explains it then!   
    Green screen/vfx. Unpredictable lighting. "Artists." R3d users. Me and my R5
  9. Like
    JR Lipartito reacted to Andrew Reid in Canon Cinema EOS C70 - Ah that explains it then!   
    I am wondering why the put the best chip and image in the stills camera.
    Full frame.
    8K.
    RAW.
    So why not put that in the more expensive model as well?
  10. Haha
    JR Lipartito got a reaction from IronFilm in Canon Cinema EOS C70 - Ah that explains it then!   
    Wouldn't it be just like Canon for this camera to have the DGO sensor and all the great 10 bit codecs but no raw, while the C50 gets internal raw, but with the old C200 sensor and no 10bit codecs? 😅
  11. Like
    JR Lipartito reacted to Yurolov in Canon Cinema EOS C70 - Ah that explains it then!   
    F4 Dof is plenty for that lens and docu work. The light gathering is the important part as it means you can leave the lens on day into night and have that amazing range for run and gun.  
  12. Like
    JR Lipartito got a reaction from Lux Shots in Panasonic S1H ProRes RAW 6K 12bit - download firmware   
    What impresses me the most is how 5.9K ProRes RAW cuts like butter on my 2013 Mac Pro! All the 10bit internal codecs required transcoding, so please excuse the cliche, but this is a game changer. I don't have to upgrade my editing rig as long as this reliable little trashcan keeps sputtering along.
  13. Like
    JR Lipartito reacted to Matt Hollman in Panasonic S1H ProRes RAW 6K 12bit - download firmware   
    Here's a very boring test shot of my kitchen at ISO 12800, Sigma 24-70 f/2.8 @ f/2.8 (ungraded). The light is coming in from another room and was quite dark to the eye. If you zoom into the image there is definitely noise, but it's totally usable even without noise reduction added.

  14. Haha
    JR Lipartito reacted to Mick 232 in A closer look at the Canon EOS R5 lower quality 4K mode to avoid thermal cut-off   
    Crazy indeed. Look closely at 0:51. The AF cannot distinguish an eye from a butthole.

     
     
  15. Like
    JR Lipartito reacted to Cliff Totten in A closer look at the Canon EOS R5 lower quality 4K mode to avoid thermal cut-off   
    Guys....Canon never intended the R5 to "not" overheat. Overheating was known by Canon a long time ago in development. They "specifically" did "not" try to fix this problem early in R&D. Canon was and is perfectly fine with its recording capabilities.
    My Canon rep friend told me "Cliff, the R5 will have strong recording restrictions"...over two months ago. And....he knew about this LONG before that. Again, Canon did not want the R5 to "not" have "recording restrictions".
    By the way...Canon's camcorder division is perfectly happy with the fact that you can't use the R5 for long form event recording. This was part of the R5 plan from day 1 decelopment. You cannot use the R5 in place of a "camcorder".
    Sorry....
  16. Thanks
    JR Lipartito got a reaction from Alt Shoo in A closer look at the Canon EOS R5 lower quality 4K mode to avoid thermal cut-off   
    They could have made the R6 the video flagship with internal 5.5K raw (Like the 1DX mkIII) and marketed the R5 primarily as a stills camera that happens to be capable of short clips at 8K raw—more for frame grabs than making movies. If that were 8K’s purpose then the heat would be a non-issue and they could still keep the 8K badge on the box. Filmmakers would flock to the R6 in droves, and I’m sure a few would also pick up the R5 for the better stills and occasional 8K beauty shot. The R6 would have been a major threat to threat to the S1H and whatever the A7SIII works out to be. But Canon doesn’t think in that big picture kind of way. They just want to set the entry point for raw video at >$4,000, whether or not it actually works. 
  17. Haha
    JR Lipartito reacted to John Matthews in A closer look at the Canon EOS R5 lower quality 4K mode to avoid thermal cut-off   
    My understanding is that the big kicker is not so much the overheating but the time you need to wait to get the same initial recording limit. Maybe you can cool it down with a cold beer strapped to the side; when it overheats, you can drink it and put another cold one next to to get it to cool down faster. No harm in that.
  18. Confused
    JR Lipartito reacted to Vrzalík in A closer look at the Canon EOS R5 lower quality 4K mode to avoid thermal cut-off   
    And what Canon EOS R6? Is there any overheating issue too? Today I watched one Youtube video and R6 has overheating issue too. 😞
     
  19. Like
    JR Lipartito reacted to Sharathc47 in Fuji GFX 100 ProRes RAW?   
    Yeah, regarding Prores Raw licencing, I read somewhere about implementation of PRORES RAW internally in MAVO edge 8K camera, whether there were any issues regarding patents. Kinefinity replied that "Patents are restricted to US but not in other countries and we don't sell any products in US."
  20. Like
    JR Lipartito got a reaction from Sharathc47 in Fuji GFX 100 ProRes RAW?   
    Isn't internal/external recording more an issue with Prores Raw licensing than with the camera's ability to do so or not? 
    Not sure if this has been officially stated anywhere but I highly suspect the reason Panasonic made a partnership with Atomos was because the latter carries the license burden.  So I would imaging Fujifilm taking a similar approach or else it might have to be a paid upgrade to offset the cost of licensing. 
    Canon, on the other hand, is able to offer internal raw on the R5 so matter-of-factly because they have their own Cinema Raw codecs. 
  21. Like
    JR Lipartito reacted to Andrew Reid in 1D X III vs EOS R5 and R6   
    I'd rather have 5K 60p RAW than 8K 30p RAW.
  22. Like
    JR Lipartito reacted to Jordan Dudek in Anamorphic on medium format   
    The production company I work for has purchased the new 1.5x Aivascope from the Facebook page. I honestly love it. It’s certainly not perfectly, but it’s given us the flexibility we need to shoot anamorphic without totally breaking the bank. It’s quite easy to use as well. 
    In my tests, I’ve found that the taking lens often gives the characteristics I’m looking to achieve. I feel the Aivascope is quite clinical and sharp. If I put a modern stills lens behind it, the image will be exactly that. However, if I put our Contax Zeiss set behind it, it takes on a totally new look. We shot a few spots with the Aivascope, Contax taking lens, and the S1H. 
     
    I believe we used the 50mm 1.4 for most, with the 85mm 1.4 and 35-70 3.4 for some pickup shots. We shot mostly at f2.8

     
     
     
     
  23. Like
    JR Lipartito reacted to Ingo Oz in Anamorphic on medium format   
    Hi,
    it is an realy interesting look in the medium format anamorphic images. I am looking forward to see it in motion.  But I think using the Panasonic S1 in  ~6K Photo Mode and 4:3 ratio is a big competitor and not so expensiv.  Ok, you can only record 10 minutes, but I dont want to make interview movies.  Here an example image

     
    and here the final How-To-Corona-Clip:
     
    Used: S1 + VLog, 58mm Helios, Isco Ultrastar Red and the great FVD-16A from Rapido Technology.
    Best regards
    Ingo
     
     
     
  24. Like
    JR Lipartito reacted to BTM_Pix in Anamorphic on medium format   
    Still very restricted here about how far we can go from home but managed to use some of our allotted exercise slot this evening to take a bit more footage with the FP/45mm/Anamorphot.
    And yes, that is a snake in the bottom left of the top picture.
    And yes, I did shit myself when I saw it.

  25. Like
    JR Lipartito reacted to Andrew Reid in Anamorphic on medium format   
    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.



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