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Franka Mech T. Lieu

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Everything posted by Franka Mech T. Lieu

  1. I figure Sony likely are not targeting this camera as a for real Video cam nor even Hybrid. This is more a still camera that can do the occasional press into service Video shoot need. Sony IMHO are viewing the FS-5 , A7S-II/A7R-II ( with the vertical grip ) as the choice for B-cam. In this regard I accept the way A6300 as it is now ..
  2. Well nothing wrong about Fujifilm serving up X-PRO 2 the way it is. Just different tool for different people. In fact I think this is a total non news, if Fujifilm would come out and state they would not put 4K onto the X-T2, then that would be a news. Even way before X-PRO2, Fujifilm had always state its intent to separate model according to customer niche and that they were hard at work on doing proper Video on their next serious multi-role model ( aka the XT series ). It does not take a marketing degree to figure that its well worth to put this proper Video feature into an established model lineup like the XT that favor the more diverse market than niche model like the X-PRO or XE. That said the XE is more the mid range hobbyist model and it would be most interesting to see how Fujifilm going to do with it. After all the X-E2 now the oldest among the X series and surely we will be seeing X-E3 coming and how it come about with regard to video quality would tell us something about how Fujifilm progress with their task. Samsung NX1 and Sony A6300 had upped the game within the APS-C ( super-35 ) sector and I see nothing in the way that prevent Mfr from going more .. and that's the way it is,
  3. if you can read Japanese, here's the Catalog for DL
  4. A bit of curiosity, I was reading their feature page and come across this, a build in 3 stop ND filter on the 24-85 model ( no mention of this in the other two ) but its not stated on the spec sheet ... interesting one there. Anyone had any idea
  5. I just do not think the current way BM do the remote control is anything even matching the need .. Sure if we take the intended for close range 802.11 Wi-Fi standard as a measure, with range roughly around 100m to 300m max it might be stretching things but point to point Wi-Fi and Long Range Wi-Fi is very mature technology and implemented in numerous industrial / military / communication solutions with great capacity, way beyond what this camera asked for .. my take is that, if BM want to market this as something in this field, then they should provide the solution instead of just the camera ..
  6. I was at first quite excited about this camera, but when its full spec and feature are known, I just shake my head, OK its supposed to be used outdoor, remote , that's what BM try to market it but they leave out the most important part of that, remote control. How hard is it today to put a Wi-Fi in there and write a straight forward iOS / Android App to run the remote monitoring and control. The way BM do it now is in a straightly studio production mindset in their way of implementing it. Even sub $500.00 DC had remote connection capability that do not require rigging this and rigging that .. Panasonic is said to be bringing the GH4 in a form factor that more or less similar but with a full functional Remote solution just by using your mobile device. We will have to wait and see.
  7. Well it do not do focus, that adapter , AFAIK from what Canon inform .. and it only Zoom and .. well .. why not on the lens @.@ Very simple, because Canon actually do not build the POWER part into the lens .. its not a powered zoom lens, that zoom is squarely old type , the adapter idea is like old days AF adapter in the 70's. Actually consider this, the 80D got Digit 6 processor when G7X-II, announced the same day got Digit 7 , this tell us that the camera sits in development longer than it should be .. I wager Canon probably just do not have any to show before 5D-IV ( when they actually get to that ). The 80D is more just a stop gap ( or get pushed off as Canon need something to show ) that keep Canon kind of in the loop. The problem with any real improvement if and when bring upon in 5D-IV , of course , is that it will instantly relegate all current Canon DSLR ( bar the 1DX-II ) down to being last generation status ( though they are not that far back even now ). They will have then to launch 7D-III, 90D, and even new replacement to their Rebel. the 80D perhaps the one of the ( if not the ) most forgettable upgrade we've seen in recent years
  8. why GH5 .. I see no reason for Panasonic to abandon the M4/3 format that Panasonic take so much effort and time to build for themselves. That said, why not take the Varicam line and build something along it as the Super 35 platform , who is to say Panasonic cannot have 2 platform of a system, one 4/3 sensor sized, and one Super-35. Canon Cine EOS is pretty much taking the same route, just in a different fashion. A VariCam model that kind of matching the FS5/FS7 , and yet another one a hybrid like the GH, but likely with interchangeable mount ( active ) for M4/3, PL, Canon EF and might be even Nikon F. Its easy to dream up a GH5 with Super 35 sensor and all the bells and whistle, but seriously that mean a total re do of almost all the lens and that certainly is not a simple undertaking , not to mention having the complexity to serve 2 format, and several cause with the same lineup. By splitting the so call super-35 GH5 and refit it into the VariCam lineup ( even if it still use the M4/3 mount ) it can be easier go for both. Might be just call it the VariCam H ( for hybrid ). In short the GH can stay GH and M4/3 , we just have the VariCam lineup expanded downmarket to include it all the way down to the Super-35 GH ( super GH , should we call it .. lol )
  9. Well there is no BSI image sensor in Panasonic stable, but they have something called SmartFSI ( https://www.youtube.com/watch?v=XPec2EaBSSM ) that's actually very smart technology , but looking like Panny is still struggling with yield and they probably still unable to put the tech onto a large sensor application. The other big sensor tech is stacking , but right now only Sony shown capable to do it on a scale. Ominvision and Samsung all shown them but can only do very limited delivery and they have not employ it on anything big. My take is Sony also is trying to further the technology. So until they can safely made all or some of them to fit together in a sensor and give good yield. The stick with the trial and true older tech but made do with still more improvement. The new Organic Thin Film Sensor development Panasonic just announced was in itself a BSI structure but its not likely to even hit production until he 2020's and this is likely for industrial, automotive and medical application too. So for now I am more willing to believe Panasonic is simply running with limited set of technical know how that they can deploy to a 4/3 sensor ( or Super 35 as in their VariCam). I wonder though if intrim they can take their tech that step further, say bring that SmartFSI to 4/3 or perfect their BSI fab so they can employ that to a traditional MOS sensor The XC10 is one of those love it or hate it affair, Canon should ditch their marketing saying its for Still and Video ( the still capability is a joke ).
  10. look like hitting all the right note ; now we need some quality fast APS-C OSS E mount lens , especially wide angles , wonder if the G-Master lineup will give us some surprise down the road.. a bit worry about battery life though
  11. Like the CFast 2.0 , but think Canon should just give us two of them. It can so easily get confused over which go where on the field with the 2 very similar cards and identica looking sots. Not so happy with the way Canon try to limit the Video capability though ( and same for Nikon on their D5 ). There are numerous field application where its simply impractical to carry a Still and a Video cam both. Might be Canon should port the Still capability onto their Cine-EOS C100/C300/C500 or they should at least give us some more robust and decent Video on their TOP model. Same goes for Nikon again here. I am with Visionrouge though, this still a very impressive platform. am just a bit sorry that both Nikon and Canon, still fail or reluctant to bring us a more all around PRO/production field hybrid that do decent work on both still and Video. Not asking it to outperform or even match the like of C300/C500 but at least it should be better than just a limited workset as it is now
  12. Referring the new Star War Movie to Feminist is typical stereotyping, and a rather irrational and somewhat sexist .. as for the movie, it just get me back to the core , the fundamental, the essential of what Photography and then Cine brings, that is to record a true event, scene, and a world. And this is what made it grand. No amount of wizardry can best mother nature in providing the perfect backdrop , setting, and stage , period what the tech do is bringing that backdrop into a visual entity that we the viewer can feel it, enjoy it, and admire it , together with the story unfolding , that to me is what good cinematography should do
  13. ​ It's very possibly cultural, as well . One of the finer line people in the entertainment industry had to trek is about the ( lack of ) common background culturally and knowledge wise one might or would process as an audience/viewer. Which might and would distort the meaning or by convey, a different sentiment, & meaning from what the original intended. Many shows from US, and UK tend to rely too much on local culture that its too easy missed on foreign viewer and even many of their own. This is in fact very much the case also nowadays of shows coming from Asia and Europe alike. Not to mention many new comers like Bollywood and African productions. A frequent viewer myself to the BBC show I must say there were many remarks I've seen on the show that are just trivial, light hearted, and genuinely entertaining but do in many cases would cause some viewer misunderstanding or even downright unable to muster the thought , in which case the plain word and text itself then surface as the literal meaning to the one viewer or viewers , and this is so true the case.
  14. Seriously this article is one of the worst I've seen posted on EOSHD. Its a gross mis-interpretation of events still unfolding and basically none to do with what the author argue upon ( notably artistic and creative freedom ) I do agree and abide with him upon the need to protect such rights. But seriously Mr. Clarkson's action past and well this one is not having anything to do with that. I suppose its just basic human decency that its yes, its OK to offend, so long you having a just reason for that That though does not include discrimination of sexual role, race, gender, or even simple thing like preference for mode of transportation ( if you might , check many previous episodes and you will note that ). Upon the incident, being a frequent business traveler myself too. I can relay with the frustration of the ill prepared dining arrangement ( if that being the truth ) but I guess that's no reason for any form of fracas. We all have such from time to time and we do not go out and well punch someone for that. To be very frank, I do not think the show would really suffer without him. For certain I do not watch the show because of his lively artistic show of what you call.
  15. ​Humbly I disagree , I used to do chemical wet darkroom, and now I do my own digital and print myself. DR is very crucial in all cases. Yes its true that old timer photographic paper usually can't muster 10 stop ( in fact that's why the good old zone system are based upon ) But having the DR is important . especially we have digital now and this is the same for Still as well for Video. Truely any over exposed or underexposed part of a capture just mean there's no data to work on. where if the DR allows, a capture that have data that's not over blown or true black means something to work on and thus allow possibility to extract something. In fact still capture demands loads of DR ( ever try photographing someone under the tree's shade in midday sun , guess what the face and the sky can be miles apart ) That's also why many old film users are not very keen on using those Velvia .. Astia-F or a good Neg film can just capture that much more. And Velvia, even the old Fujichrome-50 as its called way back had way more than 4-5 stops. But indeed Canon is truly showing their limitations here. Just up the photosite density on the sensor is not going to do them at all the goods needed.
  16. ​Guess you said it yourself already .. we do not really need the Photographic oriented DSLR to be the hybrid, Instead why not made a C-100 development that can capture Still ( just RAW and Basic RAW+(Fine)JPEG would be good enough, no need for all the fancies ), and speaking of that the writing is on the wall, DSLR just do not made a good hybrid, Mirrorless is better. I would like to see Nikon and Canon to launch FF mirrorless that's more true hybrid ( and also photographic specific bodies too ). Or just slim down the 1Dc for doing that .. Might be Canon can have Sony's 12MP FF sensor inside the A7s for the made too. Might be even ditching the mirror to made it a mirrorless EF mount body ... I think most here forget that Canon had 2 EOS lineup, the EOS, and the Cine-EOS. IMHO the Cine-EOS is more suited as a platform to develop the true downmarket hybrid. Leaving the EOS to do what it had been doing well for decades. Still Canon need to have some real break through in the sensor side first and foremost. And further to that , the Lens lineup urgently need some improvement and replacement to catch up .. that old 180 Macro that's so good then now looks challenged for the need ( both still and video )
  17. Personally I can see the very use of this camera, its just not the case that every new 5D need to cater to Video / Cine users. After all there is loads of real photographers who need this kind of tools. Nikon with their D800E and now the D810 had set the benchmark. Even Pentax was there with their 645Z, and Sony with their A-7R. The lack of a body that can perform at that level of requirement for Photographic capture really put Canon at some disadvantage and this had been on for some time and wager Canon just need to answer to their customer regarding this. Instead of bickering about what clearly a photographic oriented platform inability to advance on Cine & Video I would say its more a matter of real market / product / customer orientation and where they are heading. The Cine EOS series is clearly more likely to be a better option to go for and notably the EOS-1DC also. What matter as regard to Canon is their inability to price them accordingly. When we have 4K even on the latest smartphone , there must be some form of down marketing going on for 4K and the DSLR FF or APS-C need to adopt. A very high pixel count sensor is just not the best of an idea ( unless its aiming for something like 8K ). The new slew of camera like the GH-4, E-M5-II and no less Sony's A-7 series had pretty much demonstrate that the market ( in term of hybrids ) are there but there is a somewhat difficult market for DSLR to fulfill. Notably even Nikon hints at FF mirrorless. So I would not be surprised to find the segmentation as stated by the author in the article, but its not going to be just segmentation in and among the DSLR, but take a look at EOS, EOS-M, and Cine-EOS as a total lineup and its more like it. Are we going to have a more ( price vise ) consumer friendly Eos-1DC-II, and might be a hybrid Cine-EOS, and who is it to say we can't have a EOS-M 3C
  18. Well , sounds like so much fuss, but let's get back on track. now that pentax announced their 645Z, we can somewhat made an educated guess. Pentax only offer 1920X1080 HD at 30P ( you can do 60i though ) and 60P only at 1280. However the sensor is an 8K affair ( Pentax spec say 8256X6192 ) And somewhat vaguely Pentax refer to 4K as optional external ( no reference to how its implemented ) so at best it would seems like ( just ) streaming off the HDMI. There is also no mention of what the 4K spec are , but judging from the fact that the camera can only do 30P 1920. One must question whether the signaling and buffering are up for it or might be Pentax just do not bother with a proper Video circuitry. Anyway it would seem the sensor is capable of readout to 60P but at what kind of output resolution and bit rate, not to mention the specifics .. are all unknown. And since its pretty much open secret that the sensor is from Sony and would also be used by Leica. I guess we can assume similar limitation and/or potential. For a start it would made a very nice 8k with only minimal crop as it would have just the right amount of photosite for that. so effectively 4K could easily be using soft ( or might be hardware ) binning. Doing that 1920 on such a large sensor ( with that many photosite ) must be a chore. No matter how its done. If the sensor allow RAW readout at full 8K ( or 4K ) with enough of a bitrate and good color depth ( sort of like GH4's 8bit 4:2:2 down & over sampled to 10bit 4:4:4 2K ) it could very well open up some possibility Traditionally we have no popular cine format that's akin to this sensor's size. But I see it more as a 4K FF ( 35mm ) sensor simply enlarged ( its only really 44X33 which is horizontally speaking only 21%+ ). with that much real estate I really think they should just forget the 2K , and instead give full 8K RAW readout and binned 4K.
  19. Both the GH4 and the A7s would be winner, it just depend on individual requirement and preference. Still I expect more to come , Sony's rumored 4K a mount body and Canon's next EOS-Cine might be something though IU doubt the Canon can ever claim to be priced friendly any more. Right now Sony and Panasonic really is the one who give us commons the solutions. I wonder who else would ultimately gain entry to this market sector. Canon certainly might if they want to. Blackmagic , perhaps but their inaction upon the BMCC simply do not inspire confidence for now ...
  20. Let's put it this way , majority of the Cine market could not afford this, not financially but the way it requires and how it requires. And of course the whole original BMCC sector getting let down by having nothing ( no news is not always good news this time ) at all is even more depressing. In iteslf alone the cam is not really bad, but one have to question if its concept a bit of too much or rather too less this way and that way ... the big question is not how this cam work, but how the competition works. I am looking at the URSA and then I look at the BM production ( essentially 4K super35 version of the BMCC ) and I must ask myself, if its not better to have one over the others. And of course we now have to thrown in the like of Arri, RED, and plenty more ... and yes the Canon, Panasonic and Sony.
  21. Do recall that Sony been dancing around that A mount 4K body idea and I think its very likely the A mount body would come out to be the real 4K hardgun Sony going to offer. More like the GH4, an A mount body would be more an all inclusive solution where the A7s can be seen as a compact modular type of platform ( I do actually think the external 4K recording not really a bad idea for the A7s )
  22. Well, it seems we have a wonderful 2K platform ( when appropriate workflow applied ) and a good startup 4K platform here.
  23. Pretty nice to know, but I disagree about the lack of 4K as a Con. Sorry keep asking a consumer price bracket product to do something that's not feasible as the price dictate is something just being consumer noobs. 4K is not only about the sensor, the signaling, the processing, the imaging engine, pipeline, storage and not to mention the lack of a more refined 4K codec yet ... Its not just 4K ... and there's loads of issue once and performance / technical hurdles. So all in all, for the price. one really cannot be too critical about it all. I Praise Sony for their achievement. And yes there will come days when 4K can be wide mass market, but its not there yet ...
  24. I am with the saying that cost is a big concern, but I think there is one more factor in play, namely what the wider audiance have in their home. 4K simply won't be much of anything if the typical viewer do not have a viable 4K display ( and also 4K receiver / streaming service ). The producer, be it PRO or amateur, hobbyist or just home movie, and the Broadcaster might have it all 4K, but in the end that result need to be displayed, and well 4K display is still quite some way from actually making it mainstream. And one of the thing am seeing is that some Mfr are jumping the generation and instead forging for 8K display. That's going to be some interesting time during the migration.
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